Newly launched UK based start-up Syncsmith is currently working hard to establish itself as a fantastic service designed to not only champion the past releases and back catalogues of electronica pioneers but also provide made-to-order original electronic content. Determined to largely avoid using social media, Syncsmith is truly original and the founders kindly agreed to this interview to tell us more about its premise and plans for the future.

PW: Please introduce yourselves.

S: Hello were Syncsmith, we’re a new start-up based in Bristol, UK and we provide experimental and avant grade electronica specifically for the TV, film, gaming and creative industries. 

PW: How did you, as the founders, first meet each other?

S: Quite randomly we all move to Bristol on pretty much the same day, we all got talking and shared a very similar vision which conceived Syncsmith.

PW: What are your creative backgrounds and how have they impacted your decision to create Syncsmith?

S: There’s a unique blend encompassing A&R, record label management, event management and sales, we all bring something unique to the table, I’m a firm believer that a strong blend of academia and experience is essential in any organisation.

PW: When did you first come up with the idea of Syncsmith and was it the first such idea you had?

S: The idea emerged late February 2016, it wasn’t hatched overnight, these things obviously sit in the boil for a while until motivation collides with enthusiasm, between us we’ve all has entrepreneurial adventures before but I think this was the first time we felt the key components were all there from the start.

PW: How would you sum up Syncsmith in a few words?

S: Refreshing, dynamic, electronic.

PW: What would you say makes your start up different from the many others that have appeared over the years?

S: We already have the backing and support of key players from within our field, this isn’t just a start-up, it’s a movement. 

PW: You specialise in more tailored, bespoke projects centric to motion picture, gaming, and cinematic scoring but are you finding, or do you think that one is/will prove to be more popular than the other?

S: Essentially we are here to support our artist and labels, and align their music with exciting and immersive on screen content. There are no plans to play a major part or dominate in any one particular field, our sole focus is to be seen as a trusted provider of exceptional electronica. I think there will always be a selective, sort of self-preservation element as were not the sort of people to take on every job, so the application of restraint here and there will hopefully ensure longevity for Syncsmith. 

PW: You’ve already received backing from Power Vacuum, Debacle, Motor, Dement3d, Shipwrec, Nous Disques and Versatile Records along with several others. How easy or hard was it to get them on board with the project and how has their backing helped you?

S: It was an exciting process really, we developed a shortlist of labels that we felt had ground-breaking music and a really innovative A&R ethos. It was then just a case of contacting the labels and communicating the vision. Their support has been unparalleled and we wouldn’t be here without them.

PW: You’ve already got a talented roster including Beatrice Dillion, Joe Farr and ASC but if you could get one other person involved, who would it be and why?

S: Personally I’m a big fan of Bill Kouligas’s label PAN and Erased Tapes, so yeah I would love to represent either of those labels and any of their artists. Jlin, Helm, Visionist and Aïsha Devi are also in our sights.  

PW: What is the social media/connecting plan for Syncsmith and how beneficial do you believe social media to be when it comes to a project like this?

S: We have a bit of a theory on this and will be avoiding social media for the most part. Cast your mind back, can you remember a glorious, sepia-infused, steam-driven era where people communicated, I mean really communicated; pre-emails, pre-rolodex, pre-alexander graham bell. Relationships implied care, that warming glint in the eye and robust handshake gave confidence, lasting friendships were created through belief in others abilities and above all trust. Syncsmith was hand-forged in this industrial epoch, a time when master craftsmen, artisans and the Brunels of this world were passionate about their craft and through hard work, galvanised their own revolution. The carbon stained, piston scarred hands of the “smith” signified years of tortuous lament and withheld layers of precision defining a certified Master in his chosen art and essentially a tailored end product. Above all, these artificers where genuine folk, great listeners and influencers of society who advised and guided, refusing self-gratifying adornment as helping others and making a difference was always more significant.

PW: The internet has allowed so many companies to start up and grow their businesses so what are your plans for Syncsmith going forward? How do you plan to make sure it stays ahead of its rivals?

S: Agreed but doesn’t that allow for a whole bunch of unregulated amateurs?! Our main goal is to align our artists’ material with the more visually challenging, immersive, art-driven projects. Growth will happen but it’s not something were overtly monitoring daily, growth will come as a bi-product of success, so the focus for now has to be relationship driven and forged through 100% commitment to our artists and labels.  

PW: Are there any other start-ups or business ideas you have brewing you can tell me about?

S: I’ve got this weird little idea about leaving Europe, think it might be possible, needs some work though!

PW: Finally, if you had to give one reason for people to try Syncsmith, what would it be and why?

S: We’re bloody nice people!

For more information on Syncsmith, visit the website or follow the page on Twitter.