It's now been almost a decade since you released the Killa
Bite series through the label of the same name. They helped to establish your cred as a techno producer to look out
for in the late '90s. How do you feel about those records now?
“I'm still proud of them - they definitely helped spread my
name a lot and I also learned a lot of lessons about the industry by releasing them - they sold really well, but I never really
got any money from them as one of the other guys involved kind’a ran away with the project. Over the past couple of
years I've gone back to the same concept with KB Records Inc., but this time running it how I initially wanted to: as a low-key
edits and remixes project for DJs.”
When you came to Melbourne in 2000 - which is the last time I actually
had the opportunity to interview you - you were the new kid on the block; the up-and-coming tech/electro enfant terrible.
Now you're a veteran... so, from your current position, who do you consider to be the new kids (DJs and producers) we should
be on the look out for?
“Hard question…! There’re a lot of producers I regularly
support, though most have been around a while. I wouldn't say there’re a lot of “up ‘n’ coming”
techno artists right now, as most new names seem to be making minimal or electro-house, but over the past couple of years
I'd point to Joris Voorn, Shed, and Shinedoe [Chinedum Nwosu], who have been the most consistent and interesting out of the
[For the record, Voorn released a record titled ‘Return
To The Fountain’ through Sims’ Ingoma label in 2005, under the alias of Dark Science].
Earlier this year you re-released the Remanipulator EP -
with its excellent mixes by Adam Beyer and Mark Williams – plus the Kingdom Of Drums Vol. 2 sampler through
your other label Ingoma. can you tell us about them?
“The Remanipulator re-release was mainly done because
the original label Primate had disappeared, and I was constantly asked about putting the record out again. I'm quite amazed
that there’s still a demand for the track, as it sold crazy amounts the first time round. The sampler EP on Ingoma was
just a collection of tribal-influenced tracks I had been spinning for a while from CD-R, and wanted to get it out; I'm currently
compiling volume 3 in the series - which will be the last Ingoma release.”
Which records take pride of place in your sets at the moment? …and
why do these records seriously rock?
“Mark Broom’s Things has been getting the strongest
reaction all summer. At present it’s still only on CD-R, but it’ll be part of the Kingdom Of Drums Vol. 3
compilation; I’ve started my sets at most big festivals with it this year. It has a simple but hugely effective and
addictive vocal hook that just works so well - just classic club techno that there’s not enough of right now.”
[For the record, Broom released the record ‘Mod’ through
Sims’ label Theory Recordings last year, and he previously remixed Ben’s track ‘Retrovert’].
What non-techno or non-electronic music are you listening to at home
“I still collect a lot of records, from funk to disco to hip
hop to soul, and that’s generally what I listen to at home or in the car. My current faves are: [J. Walter Negro and]
Loose Jointz’s Shoot The Pump, a punkish funk track from 1981 that I'd been hunting down for a while; MC Mitchski’s
Brooklyn Blew Up The Bridge, a mid ‘80s, sparse hip hop rarity; and Rufus & Chaka [Khan] with Any Love,
a hands-in-the-air soul classic.”
Who in techno/dance music/electronica do you most respect?
“I respect a lot of people. It's pretty hard to get on the circuit
and stay there, so I really give props to the guys who have been around for years and stay on top of their game - many other
names come through quickly and disappear just as fast, so anyone who manages to consistently deliver the goods and always
have surprises up their sleeve really deserve respect.”
How many times have you been to Japan now? And what fascinates you
most about Japanese culture?
“I think it's about seven times now. It’s my favourite
place to play, the crowd response is always so positive and energetic, and it's a feeling that stays with you even after you've
left. I've met some great people over there - including my girlfriend! - had a lot of fun, been to so many amazing restaurants,
and there's some fucking good records shops there too!! I love the way the future lives so closely to tradition, how you can
one minute be in a crazy area like Shibuya, then the next at a temple… It's such a cool place to be and to DJ.”
What style and tone can we expect from one of your sets these days?
“Right now I'm playing a lot of different styles, from the more
up-tempo end of minimal to hard-groove techno; from acid house to ghetto-tech to occasional rave and house classics. I'm really
enjoying mixing it up at the moment.”
Which Japanese DJs/producers do you dig?
“Ken Ishii, Shufflemaster, Hiroaki Iizuka, Atsushi Yano.”
[For the record Iizuka released the ‘Radiant’ EP through
Ben Sims’ subsidiary label Symbolism last year.
Yano previously released a record through Sims’ other label
Ingoma, and featured on ‘Kingdom Of Drums Vol. 1’.
And Shufflemaster (a.k.a. Tatsuya Kanamori) released the ‘Soul
Survivor’ twelve-inch through Sims’ Theory Recordings imprint in 2002, and previously remixed Sims’ track
And, finally - how do you like your mushrooms cooked?
EARLIER INTERVIEW WITH BEN SIMS BY ANDREZ IN 2000, THANKS TO TRANZFUSION.NET