“I’m going to go way back to the birth of sampling” Simon Sinfield interview
In this interview, we sit down with Simon Sinfield – a seasoned producer and label head whose career spans decades of innovation in electronic music. From the reflective journey of his latest album Voyager to the forward-thinking ethos driving his label Krafted, he shares insights into balancing underground roots with crossover appeal, nurturing emerging talent, and navigating the ever-shifting sonic landscape.
We delve into his creative process, the stories behind his aliases, and his aspirations for future projects, including film scoring. With highlights from 2024 fresh in mind, he offers a thoughtful look at where electronic music has been and where it’s heading next.
Your album Voyager feels like both a celebration and a reflection. Did revisiting older tracks bring back specific memories or emotions, and did any tracks take on new meaning during the process?
It is exactly that. It seemed like the perfect time to reflect on previous productions and collaborations and create new tracks specifically for the project. There are a couple of older tracks that mean a great deal to me. “Winter Sun” was a key track that did well on its original release and then got another lease of life when I played it on my first Radio 1 show. One of the newest songs, “What About Me,” is special too. It’s a collaboration with the incredible singer-songwriter Ana Be. We’ve worked on quite a few tracks together, but this particular song had been sidelined when I produced her first few singles for Krafted. I kept going back to it and managed to convince Ana Be to revisit it. It was the right decision as it suddenly blossomed into the finished track you hear on the album. The reward for perseverance has definitely paid off. It’s one of my absolute favorites now.
Krafted has a strong reputation for breaking new talent. What do you look for in emerging artists, and how do you balance nurturing fresh voices with showcasing established names?
We always focus on quality. I’m not bothered if an artist turns up with minimal experience or has a global following with an impressive back catalogue. As an independent label, I think it’s our job to give people a shot and help them on their way. I hope there’s a good balance across the imprints between new talent and established names. It’s not something I’ve consciously measured. Personally, I love working with new artists. Developing new talent is exactly where my time should be spent now.
You’ve seen electronic music shift through various trends and phases over the decades. Which changes do you think have been the most impactful, and what are you anticipating for 2025?
I’m going to go way back to the birth of sampling. It was an incredible moment, and it had such an impact on my interest in making music. You just have to go back through the key records across loads of genres that were led by the technology. It surely has to go down as one of the largest technological jumps in music production and hugely influential on creativity! What’s next? I’m loving how young producers have been revisiting old house records. I also think the interest in 80s/90s music will still have some influence. The dancefloor still loves those classics.
Your aliases, like The Cloudshapers, offer a creative outlet separate from your main work. What’s the story behind these pseudonyms, and how do they allow you to experiment differently?
I feel it is a very positive thing for producers to do. The Cloudshaper project was born from a rejected remix, and it made perfect sense to release it under an alias as it was made in a style far removed from my progressive house and commercial remix work. And you’re right to say that doing so allows experimentation. I’ve encouraged many of the Krafted producers to try different genres. Some of them have ended up sticking with their new style and pseudonym.
Krafted has roots in the underground but also embraces crossover appeal. Do you see this duality as a strength, and how does it shape your approach to the label’s output?
It was something that myself and Paul (Krafted co-owner Paul Sawyer) wanted to do. We’ve brought in more commercial-sounding releases, as well as the chill brand and even DnB. However, our love and commitment remain with the underground releases we are known for. It’s been a bold move and one we’ve carefully undertaken, but I believe the quality and range of releases is a very positive thing.
Your music often feels cinematic, particularly the downtempo and ambient pieces. Have you ever considered scoring for film or television, and what kind of project would excite you most?
I have actually done that twice. A really good friend made a couple of independent short films, and I got to provide the theme and accompanying soundtrack. I’d love to have another go, especially scoring for an orchestra. I do find it quite hard to concentrate when watching TV shows and films, as I’m always focused on the audio. I think my choice would have to be scoring a dark and menacing drama series. That would be a great challenge.
BBC Radio 1 and Frisky Radio have both been key platforms for your work. What role do these kinds of residencies play in connecting with audiences, and how do they differ from live performances?
Both have been wonderful experiences, and the BBC and Frisky have been brilliant with their support of my music and Krafted. As an ex-radio presenter, I have an absolute love of radio, and I think it remains a great way of discovering music. It’s just a shame that the choice of indie stations has been destroyed in the UK. Krafted runs a regular Twitch show, which is effectively my old radio show but with cameras! Interacting with the audience and discussing the tracks, artists, and projects is a great way to connect with fans. It is obviously completely different from playing out though. Nothing can really beat watching the dancefloor react to the music.
As the year draws to a close, what have been your highlights in 2024, both professionally and personally?
I’m very proud of what the Krafted team has achieved once again. Having celebrated our ten-year anniversary in 2023, the momentum has continued this year, and the whole team (Paul Sawyer, Darren Braddick, Fran Martinez, and Paul Moore) has excelled. Personally, this year’s Krafted Chill album was a big moment, as that project just keeps getting bigger and bigger. Releasing Voyager has to be my highlight.
