Nothing is ever simple, just ask Will Saul. As the brains behind pioneering underground electronica record label Simple – as well as the more recently launched Aus Music – Will’s just released a brand new mix for the oldest of his imprints. Harry Avers had a chance to discuss his new mix as well as music production and his secret love of Tottenham Hotspurs.
Tell us the Simple story?
I started the label five years ago with three partners and Melissa who does our press. Now it’s just me running the label, I bought out my partners at the beginning of last year. Melissa still does the press, [and] very well. Since then I’ve invested much more time and money and we’ve increased the consistency of the releases [roughly one a month on both labels] and expanded the core roster of artists. I really feel that the sound and look of Simple has become more focused. The consistency of the releases has been important in developing a core fanbase. We’ve now released three LPs and over 30 singles across Simple and Aus.
What prompted you to start your second label, Aus Music?
I wanted to focus the Simple sound more on the dancefloor, whereas previously it had been pretty eclectic. I still had a really wide taste in music and wanted an outlet for a more organic and experimental sounds. Aus is the organic to Simple’s electronic, although the intention is to release deep, futuristic dance music on both labels with soulful melodies at the core of both label’s sounds. I started Aus with Fink [of Ninja Tune], who is Sideshow on Aus and one of my best friends.
Your album project ‘Space Between’ was released in 2005, how do you feel about it now two years on?
I’m still really proud of that LP. At the time the label didn’t have the momentum of regular releases behind it for it to reach a wide audience, although it was really well received in the press. I enjoyed the process of writing it with Fin and Tam [Will’s production partners] and will do another artist LP late this year or early next for release in 2008.
Talk about your recent project for Systematic?
It was the first thing I’ve done that was aimed at the peaktime house dancefloor, and I wanted to try and release it on another label to get some new exposure. I just wanted to do something that really jacked, after writing an LP geared to home listening. I will do another single for Marc Romboy, and we’ve just released a single form him on Simple [the Sunburst EP], so it’s my turn next…
You’ve done remix work for Dessous, Freerange and Initial Cuts. Which did you find was the most challenging?
The Initial Cuts remix took the longest; about 10 days. We [Will did the remix with Tam Cooper] really liked the original, but it was quite fast [130 bpm] and the melodies didn’t translate so well to the tempo we wanted to work at [125bpm]. So we took little shards of the original and ended up making a totally new track. To be brutally honest, I don’t feel that we found a really strong hook for that remix, although people often say that it’s the best thing I’ve ever done… we added loads of details and did tons of little drum edits, which I think was us trying to make up for the fact that we didn’t get a big fat hook that we were happy with. Sometimes it just works out like this when you’re trying to be creative. The easiest and most fun was the Dessous remix. We nailed that in about two days. We always try and stay true to the original hook but just reinterpret it in our own style. This is why it’s really important to like the original for me, otherwise you end up writing your own tune and there’s no point in that. You may as well just write your own tune..! I’m just about to start a remix for UNKLE, for a track called ‘Broken’ from their new LP. I love the track so I’m excited to start it.
Can we take a peak inside your studio setup?
It’s a Mac G5 running Logic and Ableton. The only soft synth I use is the Korg Trilogy pack, which emulates the MS20, Wavestation and one other that I’ve forget the name of. Then it’s just old analogue synths – Juno, 101, Sequential Circuits, and more- and some TLA compression for warmth. I’ve also got an old Copicat tape delay. We’ll often borrow synths or delay units for particular projects, and [we] once used an old spring reverb from the 60s that was just a huge – man size – box of springs with in/out/through connections. It sounded AMAZING!
Tell me a bit about the artists you’ve got signed to Aus Music?
Well we’re already up to the ninth release; the core artists are Sideshow, Sian (Pokerflat), Motorcitysoul and Lee Jones (My My), with remixes from the likes of Prins Thomas, My My, Jerome Sydenham, Efdemin, John Tejada, Partial Arts and Stefan Goldmann.
What advice could you offer an up and coming producer struggling in today’s market?
[I’d recommend] constantly listening to new music of all types to keep abreast of everything that’s out there in order for your own sound to stay fresh and current. I’m not saying copy bands and producers you like, but you will subconsciously learn and become inspired by listening to lots of new music. Focus on the things that you love about music, the things that make the hairs on the back of your neck stand up, and then try and translate it to your own music. Basically, stay true to what you love, if it’s going to happen it’ll happen.
Tell us something that the public might not know about you?
I’m a Spurs fan [UK football club, Tottenham Hotspurs].
You have a new compilation coming out, ‘Simple Sounds’, is it an indication of how far has the label come in the past five years?
Yeah, it’s come a long way. For the first 10 releases I was just learning how to run a record label. I made mistakes and lost money but hung on by the skin of my teeth, and now it’s at the point where it’s providing me with a great creative platform and I’m earning a living from it. I absolutely love what I do.
Tell me about some of your favorite up and coming producers?
I think Shlomi Aber is a very exciting producer who will undoubtedly be massive. [He has] such a strong grasp of how to write a big hook, yet his music is deep and soulful. Definitely one to watch out for. Todd Terje’s been around for a while but I really think he’s a brilliant producer, and still only about 25 years old. A superb DJ that likes to play in his socks! I booked him to play at my bi-monthly residency at Weekend in Berlin and went to get a drink from the bar, when I came back he was DJing without any shoes… he says it makes him feel more relaxed.
‘Simple Sounds’, mixed by Will Saul, is available now on Simple Records.
