An Interview with Pierre Hall of Speedy Wunderground

Words by Sarah Morrison

Photo by Holly Whitaker

Speedy Wunderground is a London-based label and studio that was founded by producer Dan Carey in late 2012/early 2013. The label is co-run by Carey's engineer Alexis Smith and A&R Representative Pierre Hall.

Carey's career started as an artist and jumped into production shortly after. Before the creation of Speedy Wunderground, Carey worked with numerous artists such as Kylie Mingogue, Hot Chip, Franz Ferdinand, Bat For Lashes, Tame Impala, and many others.

Speedy Wunderground is a very intimate and private process. The music is recorded and mixed in one day; being sent to the printing press shortly after, and doesn't allow for any music to be shelved.

We spoke with Pierre Hall to gain more insight as to why Speedy Wunderground has become an industry sensation.

When did the idea of Speedy Wunderground get thrown at everyone? What was it stemmed from?

The idea for the label came about in late 2012/early 2013. It started as a way for Carey to make more spontaneous music and put it out quickly rather than make an album and leave it for months [sometimes years], before releasing. There's always a temptation to always go back and alter things, and this prevents that.

How did you meet Carey? 

I lived in Manchester for almost thirteen years. At the time, I was living with my best friend Oli Bayston is in a band called Boxed In. Before that, Dan Carey had produced an album for Bayston's old band, Keith. When Baytson came down to London, he trained as a producer with Carey. I moved down shortly after Oli, and he suggested I help Carey run his label. 

Toward the start, Carey resurrected the idea of an in-studio band, which, at the time, was TOY. What was the purpose of this at the time? What changed and why did the idea get scrapped? 

Well, he was recording TOY at the time for Heavenly Records, and in fact, before my involvement, Jeff, Danny, and the Heavenly team were helping Speedy Wunderground; sending the records out, introducing us to people, etc. Logistically, it wasn’t going to work having the same band do all the records. Dan had been working with more solo artists (Natasha Khan, Steve Mason, etc.) and full bands have all their own members.

I read that a few of the original rules with speed and urgency got thrown out the window. Was this decided through trial and error? What’s the biggest shift to have been made since the start?

That’s not completely true. All tracks are still recorded and mixed in one day. The only main difference from the rules is that sometimes allowed to eat during the day. People get hungry!

Dan Carey produces all of the releases. Could you take me through a typical day at the studio and what procedures are put into place to make produce a particular song?

I, unfortunately, could not. Anyone that isn’t in the band or part of the creative process is not allowed in the studio, meaning, I’ve never been to one. It’s the way it works best especially because Dan is meeting these people for the first time. The studio is one big room (no separate booths) and it’s situated under his family home.

We’ve had journalists/photographers/managers their before and it doesn’t work well. It definitely harms the process.

It’s as exciting for me to hear it for the first time as it is for everyone else. 

I’ve read that there is an involvement of a dark room, smoke, and lasers being used?

Correct! Sounds fun, eh?

It’s a very fast-paced process; all for the purpose of music not being shelved. Music is mixed and completed in a second. Does this come with any stress for the artists or do you see a natural chemistry form between producer and artist?

At first, it was a bit weird for bands I suppose; not being able to hear what they’d done before it was mastered. But the whole point is to capture that moment. We’ve had such a good run and people kinda put their trust in Dan/the process now.

It works as a good testing ground for bands that do singles to see if there is a chemistry and go on to do albums with Dan after e.g. black midi, Teleman, FEWS, Squid, Kate Tempest, Warmduscher, etc

Although Carey has worked on albums, Speedy Wunderground has never produced a full-length album yet. Why is that?

Watch this space.

Would there be a difference when recording an album? Would more time be provided? Would there be special specifications in place as there is with the singles? 

It would depend on the act; we wouldn’t put the rules in place. But some would be a longer and more concentrated process, for example when we worked on Squid’s EP.

Some would basically be rehearsed, rehearsed, rehearsed, and recorded pretty much live in a few days; for example when we worked with Warmduscher.

If given the opportunity to record an album, are there artists in mind that you would like to collaborate with or is there anything being spoken about now?

I would love to do something with Julian Cope; a 7” maybe. I think he and Dan would get on well.

Albums wise, Black Country, New Road would be good. We love them.

How do you decide on who to work with? Surely you receive a heavy amount of demos on a regular basis? What makes an artist stand out; is it the reputation behind them in the subculture scene or is purely the music being created?

So many different routes; emails, recommendations, friends of ours, friends of bands, even the internet!

Dan tries to listen to everything we get though, although we’re getting so much now and don’t like to plan too many ahead. Otherwise, it gets boring and kind of defeats the object.

Who are some of the newer artists that you’ve started working with that have really peaked your interest? Are their ones that you’re watching out for; almost scouting? 

I like Charlotte Spiral, The Lounge Society, Sinead O’Brien, and PVA. I try and help anyone out if I can and when I can.

Is there a particular reason that recordings are restricted to a run of two hundred and fifty 7”s? 

It’s just a nice number.

You release a yearly compilation; the latest featuring black midi, Squid, Tiña, Treeboy & Arc, Sinead O Brien, and Black Country, New Road. How do you decide what makes the final cut?

No one is missed out! Everyone we’ve released since the last one goes on it.

What’s special about the 2019 release that wasn’t so prominent with other compilations?  

I’m not sure, the last one kinda feels classic. All the songs/bands seem to really connected which is weird as they all come from their own individual angles.

Do you have an in-house design team or who helps with the graphics when needed?

Yes! DR.ME is a graphics team from Manchester and they’re amazing.

With that in mind, does Speedy do any of their own press for the releases or is that purely on the artist's end? 

I write all the press releases and we look after/pay for all the press and radio.

Specifically for you, how do you balance your time between Speedy Wunderground and your job with Pias?

It’s tricky. I’m a Label and Marketing Manager here; I run all campaigns for Bella Union, DFA, MUTE, plus some direct stuff such as the band LIFE. I did the last Nadine Shah campaign.

However, our digital distro and the comps go through [PIAS].

And the Squid EP, our first ever one, was a co-release with [PIAS], so a licensing deal. It’s starting to cross over a bit. 

I’ve been here for five years in August and I love it.

What’s the most important thing, moving into the new year, for the label? What are you looking at experimenting with? Are you looking to release a heavier load of music? Are you looking to hold more showcases? Do you want to expand the team or will Speedy always remain the way it is now? 

 I say the same thing to everyone; this thing is leading us. Not the other way around!