While sampling has become ingrained in modern music culture, it's easy to overlook that it was once regarded as a revolutionary act. Early hip-hop pioneers Public Enemy referred to themselves as “media hijackers,” and groups like De La Soul faced legal challenges for their daring samples. The art form itself originates from an avant-garde perspective, evident in the post-war musique concrète movement’s edited and manipulated sound collages.
In light of this, Sain Records, a significant entity in Welsh popular culture, has enlisted acclaimed beatmaker Don Leisure to explore and reinterpret their vast catalog in celebration of their fifty-fifth anniversary. Established in 1969 by Dafydd Iwan (most recognized for ‘Yma O Hyd’, the anthem for the Cymru national football team), Huw Jones, and businessman Brian Morgan Edwards, Sain became the nation's first independent record label and played a crucial role in shaping Wales' modern cultural identity. Sain was unapologetically DIY and fiercely supportive of the Welsh language, Welsh political autonomy, and broader progressive movements.
As the label marks over fifty years in existence and collaborates with the National Library of Wales to digitize its rich discography, Don Leisure is set to release a celebratory and visionary album titled ‘Tyrchu Sain’ (translated: ‘Digging Sain’) on February 28th. This lively and vibrant album features a mix of carefully arranged original music and a plethora of remarkable deep-cut samples, highlighting contributions from a variety of well-known Welsh artists, including Gruff Rhys of Super Furry Animals, members of Heavenly-signed indie group Boy Azooga, and Don’s collaborator from Darkhouse Family, Earl Jeffers.
CLASH caught up with Don at Cardiff’s Sustainable Studio for an extensive discussion that ranged from the craft of sampling to the historical impact of Sain, as well as the potential future of this project and more.
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When creating tracks for an album like this, do the samples come first, or do you start with other musical ideas?
The samples come first; they set the beat. I had a constantly growing folder filled with samples for this project. My usual process involves organizing them for each track once I sit down. Most of the time, that’s how I do it, although occasionally I’ll create some drums first and then find samples to match.
So, were you actually using vinyl from the Sain archive and chopping them up on an MPC?
The images might suggest that, but I only accessed the archive at the end when I was there to master the album. Cardiff Record Exchange was incredibly generous and let me borrow a lot of Sain records, which is where I started building my sample library.
In terms of equipment, I work with an AKAI S950, a Roland SP-606, and an SP-404 MK2. I consider them as tools for shaping the sound I want. I chop everything up and rearrange it in Reason, using Serato Sample. That’s how I blend analog and digital techniques.
You featured a great mix of new and established Welsh artists on the album. Did this happen organically, or was it part of your initial plan?
It was a happy accident (laughs). Gruff was definitely a priority since he’s an exceptional Welsh language musician. I knew I wanted to include Jessy (Allen from Voya) and Davey (Newington from Boy Azooga), who are both good friends. Che (Ahmed from Darkhouse Family) also expressed his interest in participating. For Carwyn (Ellis, a veteran Welsh musician), I had previously done drum machine work for one of his albums, and he said, “When you have something for me, I’m in.”
Was the blend of newer and older acts coincidental?
Yes, it turned out to be a happy coincidence. I also discovered numerous new acts I’d like to collaborate with if a volume two comes to fruition, which might happen. Discussions are underway, and I’ve already produced a few beats. We’ll see how this album performs.
You mentioned Daf from Boy Azooga. He recently shared that the track he drummed on features a sample of a song by his father. Can you tell me more about that?
Yes, his father, John Davies, was in a group called Eliffant and sadly passed away recently. I was ironing my shirt for his funeral when Huw Stephens called to see if I was interested in doing this record.
I found a perfect sample from a record his father played on, but the rights belonged to someone else. Sain was initially concerned, but Daf’s mother reached out to the rights holder, and we obtained permission in under five minutes. She deserves a special mention. So, in that track, Daf plays drums while his father sings and plays guitar. It’s one of the most poignant moments on the album, bridging the gap between life and death.
To what extent does the final album match what you envisioned while
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Although it has now been completely integrated into the language of popular music, it’s easy to overlook that sampling was initially regarded as a revolutionary act. In the beginning, and