Max HeyraudWe spoke with UK techno pioneer Ben Sims ahead of his return to Dublin at Wigwam this Sunday with Subject. The techno innovator discusses the commodification of hardgroove, his early days as a DJ, hard techno, a surprise B2B with Cailín this weekend and more.
Ben Sims is responsible for much of what we know about techno today. The UK pioneer has consistently challenged cultural trends, movements, and drifts by remaining true to his funk-laced roots and honouring Detroit’s soul and the power of the UK. Sims continues to embrace the unconventional in a society where ease and practicality are common practices, from his early days as a scratch DJ to today, when he has pushed the boundaries of DJing in digital format. Sims is unafraid to express his thoughts on what he believes techno should be defined by and what he knows techno is. Ben has remained true to the techno ethos, highlighting emerging talent through his labels Hardgroove and Symbolism, and frequently assisting in the development of the next generation of techno stalwarts.
Sims has a decorated techno resume, having remixed Detroit pioneers Jeff Mills, Robert Hood, and Kevin Saunderson, as well as releasing on prestigious labels such as Mote Evolver, Drumcode, Token, Tresor, and CLR, to name a few. In terms of venues where Sims has performed, it would probably be easier to name the legendary spaces where Ben has not performed, as the UK don is consistently laying down his quintessential rhythmic techno sound in some of the world’s most decorated venues week in and week out, with a special Berghain closing being a recent highlight.
Ben’s sound integrates the classic sounds of techno and house, with UK influences on the iconic Chicago and Detroit sounds. He’s an avid lover of disco and hip-hop, frequently infusing his productions and sets with similarly funky rhythms from the past to create a tapestry of sound that continues to look to the future while Sims, as always, looks back to move forward, honouring his roots.
Can you tell us about your early musical inspirations and how you were introduced to techno?
Hip-hop and electro were my first loves. The whole breakdance, B-Boy thing really kicked off when I was around 10, and I became fascinated with it. I tried my hand at all the aspects (Rapping, Breakin’, Graffiti, Scratching), but sadly, I was only ever any good at the DJing bit, so I made tapes for friends, did occasional parties and that eventually led to house and rave kinda stuff in the late 80s, early 90s and onto predominantly techno from there. Techno was a part of that from the start, to be honest, all the early Detroit stuff was played alongside acid house too, so it was only when the scenes split that the terms became so definitive.
When did you first start playing in clubs, and what parties and venues were you playing in at the time?
After doing the school disco, I played lots of house parties for friends, low-key illegal events, etc. The first time I played a club was probably at Berwick Manor in Essex, a legendary rave-era venue; it was the first club I was ever a regular punter at, too (they weren’t too fussy about checking IDs ). To be honest, I didn’t really have the confidence or chat to blag myself sets at clubs; it was mostly friends doing that for me. After doing a handful of clubs in the rave days, I largely focused on pirate radio til the mid-90s and then slowly started getting gigs; by then, I was playing mostly techno.
Do you pay much attention to the UK techno scene right now, and what shape do you think it’s in?
I try to keep an eye on what’s happening in general, but I don’t get too concerned about trends or fads; things always change, and what’s the flavour of the month is often old news pretty soon, so I just observe from afar, and do my thing, regardless.
You played your first closing set at Berghain recently, how was that?
The closing set at Berghain was a special one for me, especially as it was the last DJ set of my 40s. I can remember there being discussions about me possibly doing it years ago, but I wasn’t ready; I didn’t feel confident doing long techno sets and, therefore, didn’t enjoy them, but I’ve had more practice with long sets on the road now and found how I want to present them. The feedback has been really positive, and I was happy with the set, so all in all, it was a rewarding experience for me.
You’ve been doing a lot of B2Bs lately, with Blasha & Allat, Rebecca Delle Piane, and Oscar Mulero, to name a few. How do you approach playing B2B with various artists?
I just really enjoy doing them, feeding off another DJ, the set taking unexpected detours and excursions. It’s kind of impossible to surprise yourself playing alone, and I’m always thinking 5 tracks ahead, so playing a b2b brings me back to basics, and I learn a lot from other DJs’ track selections. It’s like having a 3rd deck on random sometimes, and you have to be ready to react to that. I love the challenge of it, and when it works well, it really creates something unique. Obviously, you need to know, trust and respect the musical decisions of the other DJ/DJs; it can’t work if you don’t; being friends makes a huge difference, too.
Speaking of B2B’s, rumour has it you’re playing B2B with Cailín this Bank Holiday Sunday in Wigwam. Where did this idea come from?
Yeah, we’re going to close the night out with some b2b action, I’m really looking forward to it. Cailín’s a great DJ, and we’ve been on the same bill many times, so although we play pretty differently, we’re both very aware of what the other one does and feel the styles will complement each other perfectly. We initially discussed it after we both had fun playing the Ifyouknow festival in Dundalk last year, so I’m happy it’s finally about to happen. There are plans for a solo release from Cailín on my Symbolism label too, so watch out for that.
You’ve been playing for Ro and Subject for a long time; do you recall any memorable Irish shows?
Yeah, Ro’s been really supportive over the years, and I’ve had some great times playing for Subject Events. Probably the most memorable was the all-night set, largely because I was nervous as shit, having never done one before. Ro reassured me I’d be fine, but I was dreading it, and at the time, I kinda viewed all-night DJs as pretty egotistical (“I’m the best warm-up AND peak time AND closer”). In the end, It went really well, it gave me a lot of confidence and understanding about extended sets in general, and you can’t ask for more than an engaged, manic, screaming, shouting Dublin crowd to throw down for.
Your labels, Symbolism and Hardgroove, have recently released a plethora of new music, many of which feature emerging artists. Is there a new name we should keep an eye out for?
I’m really happy with the output on the labels, working with both established and up-and-coming acts is very rewarding. It’s all pretty organic, to be honest: artists send me music for the radio show, and I like it, so we start communicating, or they see me drop something of theirs and get me a demo, or someone hands me a USB at a party, etc. Forthcoming there are killer releases from Pink Concrete, Dynamic Forces and a certain Cailín.
Staying on Hardgroove for a minute, it’s become a bit of a buzzword with a lot of late 90s and 00s-influenced techno records coming out recently, how do you feel about that?\
Mixed feelings to be honest; it’s great that there’s more funk-driven music being made, but just calling anything with a loop or sample in it ‘Hardgroove’ is kinda annoying and often misunderstands what the sound actually is or even was. A lot of my identity as a DJ and producer is defined by that name, I’ve used it for nearly 30 years, so sometimes it’s difficult to not take it personally if it’s linked to a sound, track or artist I have no connection to or love for. I’ll still be representing Hardgroove in it’s original form and style, regardless.
On the other hand, are you paying much attention to a lot of mainstream techno, hard techno, hardstyle-influenced music, would you like to share your thoughts on these new trends?
To be honest, I don’t really pay that much attention to it; as long as I know what techno is and what it means to me, it doesn’t really matter what other people think it is. Commercial dance music being classed as techno isn’t a new thing. 2 Unlimited charted over 30 years ago, so it’s always been misunderstood or misrepresented as a term. For me it means Detroit and all the styles that were directly influenced by it, no amount of happy hardcore masquerading as techno will change that, so it’s not worth the effort or brain power thinking about it.
You’re known for your lengthy tracklists, how are you digging for music at the minute?
Mostly online, the promos I’m sent, upcoming material from friends, Bandcamp rabbit holes, etc, but I do still hit record shops when I can, and it’s rare a day passes when I don’t buy at least one record or track, to be honest. Constantly sourcing music that’s new to me (whether old or freshly released) is my passion, and I probably couldn’t stop even if I wanted to.
What’s in your studio at the moment?
Ha! Well, mostly boxes of new toys I haven’t used yet and a brand-new mixer I haven’t found time to hook up. I’m currently mid-way through a dismantle and reassemble process that’s only made it halfway into the first stage. Hopefully, I’ll find time soon.
Do you have any advice for up-and-coming techno artists?
1. Be yourself, find your own style, don’t follow fashion or just copy what’s popular.
2. Try playing your music alongside stuff you like, it doesn’t have to sound like it’s produced in a shit hot studio but if you’re hoping it’ll get played or supported, the quality needs to be at least close to releasable. Don’t send out the first track you ever finish, it won’t be right.
3. Treat it like you’re applying for a job, personalise your communication, like a cover letter you’d include for an employer. If you want a label to care about you and your music, don’t just send a spam mail.
4. Add Metadata to the files, artist’s name, title, and contact details. We all get sent thousands of tracks every month, make yours identifiable at least.
5. If you’re going to claim the tracks are made solely for a label, do some research, and actually find out the style they release before sending a demo.
6. Similarly, don’t say the tracks are made solely for a specific label if it’s obvious they weren’t. Never fails to irritate me if an artist claims the tracks are made for me when you can clearly see 50 people have listened to them already.
7. Aim for compilations first, just get your name out there, I’m much more likely to check various artist’s EPs or albums of unknown names than a solo EP or random demo from an artist I’ve never heard of.
8. Go to gigs, and give out USBs with your music rather than just sending out emails. The personal touch works.
You can purchase tickets to Ben Sims & Cailín here.
