Over the past decade, the Norwegian, Oslo-based producer Simon Field has assembled one of the most consistent catalogues in contemporary house music — racking up over 400 million streams, releasing on some of the genre’s most respected labels, and earning a reputation among DJs and dancers who value substance over hype. He didn’t get there chasing formulas. He got there by going back to the studio, over and over, until the music started saying something that was entirely his own.
His new EP Danger is the latest proof of that instinct. Sleazy, playful, and slightly unhinged in all the right ways, it’s the kind of record that reminds you house music is at its best when it has personality and makes your body move without much thinking. We caught up with Simon to talk about the making of the EP, the vocal that became its central character, the gear filling his studio, what Oslo’s underground scene taught him about creative risk, and why, after hundreds of releases, he still believes the real shortcut is simply making more music.
You’ve now been in the game for over a decade with a serious catalogue behind you. Looking back, what was the moment you knew this was going to be more than a hobby that you were genuinely going to commit to a career in music?
I don’t think there was one specific moment, it happened gradually. The more music I made, the more obsessed I became with the process. Early support from labels, DJs and radio stations gave me confidence, but what really convinced me was realizing that music was the thing I kept coming back to no matter what else was happening in life. At some point it became part of my identity. Even now, after hundreds of releases, I’m still chasing the same feeling of discovering something exciting in the studio.
Oslo’s underground scene has clearly been a big part of your foundation. How has that local community shaped the way you approach your craft, and do you feel like the city gets the international recognition it deserves?
Oslo has had a huge influence on me. It’s a small compared to Berlin or London, but that can actually be a strength. People support each other, collaborate and take creative risks. That environment has taught me to value individuality over trends. I think Oslo deserves more international recognition than it gets. There are incredible artists and the quality of the underground scene is much bigger than people outside Norway often realize.
Your new EP Danger has a very deliberate personality to it – sleazy, playful, slightly unhinged. Where did the concept come from, and was that tone something you set out to capture from day one or did it evolve during production?
I wanted to make something that felt dangerous, uncomfortable and funny at the same time. House music can sometimes take itself very seriously, and I enjoy records that have character and attitude. As the track developed, I leaned further into that world. Every production decision was about amplifying the tension and making listeners wonder where the track was going next.
The vocal on Danger is a real character in itself. How do you approach finding or building the right vocal for a record, what makes a voice or a phrase earn its place in your productions?
The best vocals are often the simplest ones. A great phrase can do more than an entire verse. I’m looking for personality, rhythm and something that sparks curiosity – often odd takes that were not meant to be. The vocal has to feel like an instrument as much as a message. If a phrase immediately creates an image in my head or changes the energy of the track, then I know I’m onto something. With Danger, the vocal became the central character that everything else revolved around.
Crossing 400 million streams is a significant milestone. Does a number like that change how you think about making music? What’s your creative process when you start a track and what’s your current studio setup?
It’s something I’m grateful for, but it doesn’t really change how I make music. If anything, it reminds me that listeners respond most strongly when you’re being yourself rather than chasing formulas. My process is still very intuitive. I’ll often start with a drum groove, a vocal idea or a bassline and build from there. The goal is always to create a feeling before I think about arrangement or technical details.
My current setup revolves around Cubase, with a mix of software and hardware. I use instruments like the Moog Sub 37, Juno-106 and OB-6, alongside a lot of modern plugins. I love combining old-school character with contemporary production technique – especially when it comes to actually playing lines “by hand”.
It’s impossible to avoid the conversation around AI in production right now. Where do you stand on it: is it a tool, a threat, or something the industry is still figuring out how to talk about honestly?
Mostly a tool. Every generation gets new technology that changes how music is made. AI can help with ideas, workflow and experimentation, but it can’t replace taste, experience or human perspective. The challenge isn’t the technology itself; it’s how we choose to use it. Right now I think the industry is still figuring out where the boundaries are, but I’m generally optimistic. The artists who stand out will still be the ones with something unique to say.
You’ve released on some of the biggest dance labels in the world. What have you learned from those relationships, and how do you decide where a record belongs when you’re finishing something new?
Every label has taught me something different. Some are incredible at building club credibility, others are masters of streaming. The biggest lesson is that a great record still needs the right home. When I’m finishing a track, I think about who the audience is, where the record fits culturally and which team genuinely understands what makes it special. Sometimes that’s a major label, sometimes it’s a specialist underground label, and sometimes it’s my own label, Basement.
Who were the artists or records that genuinely rewired how you heard music early on, and are there any newer names you’re paying close attention to right now?
Early on, artists like Daft Punk, Masters At Work, Frankie Knuckles, Erick Morillo and Roger Sanchez had a huge impact on me. They showed me that dance music could be both emotional and powerful.
More recently, I’ve enjoyed artists who are pushing house music in interesting directions while staying connected to club culture. There are a lot of exciting producers emerging right now, and I spend a lot of time digging for records rather than focusing on hype. Ands its obviously about curation or selection – I believe Mochakk is a great example of that – always taking risks.
For someone just getting started in production or DJing right now, what’s the one thing you wish someone had told you early on that would have saved you time, energy or a few bad decisions?
Make more music and worry less. There is no such thing as the perfect plugin, the perfect strategy or the perfect release. The real shortcut is volume. The more tracks you finish, the faster you improve and the more your own style emerges. Consistency beats talent surprisingly often.
Beyond Danger, what does the rest of the year look like for you? Any other releases that you look forward to or shows planned for 2026?
I’ve got several releases lined up that explore different sides of house music, from deeper and more melodic material to more club-focused records. I’m also continuing to build Basement, which has become an important platform for both events and releases. On the live side, I’m focused on growing my presence across Europe, playing more shows and connecting directly with audiences. After all these years, that’s still the most rewarding part of what I do.