Ben Mill: Grounding the Loops

For me, 2008 was the year I gratefully stumbled across a fellow Aussie called Ben Mill.

That happened via MySpace, back in the days when the social network was still actually useful, and Ben and I clicked straight off the bat. I loved the techno he was making under the alias of Bitch Shift, and he had a sense of humour that warmed the mirthy bits of my own wayward heart.

And after all the guy is from Melbourne, my hometown.

Coming from Australia has its own baggage when you take a good, hard look at the history of electronic sounds and dance music in particular. Severed Heads, SPK and Ollie Olsen (first with Whirlywirld then No) were trend-setters there in the 1970s and ’80s, and techno-wise Melbourne has been a hotbed of creativity since the ’90s.

People like David Thrussell (Snog/Black Lung), Voiteck, Zen Paradox, Honeysmack, Craig McWhinney, Frontside, Digital Primate, Son Of Zev, Blimp, Artificial, Josh Abrahams, Alkan, Kultrun, Davide Carbone, Koda, Enclave, Andrew Till, Ross Healy, Guyver 3 and TR-Storm have all emerged from that city over the past 15 years, to varying degrees of success. Some are still trail-blazing while others have fallen off the face of that city’s Melways map.

Ben Mill could be seen as part of the latest wave since his success and inroads have really happened over the past two years, but I’d deposit him in the wave before the latest. The guy has put in his dues and now, finally, he’s getting the international plaudits he deserves – I can’t tell you how proud I was two days ago when I went into Tokyo’s best record store – Technique in Shibuya – and saw Ben’s red vinyl Ground Loop 12-inch suspended on the wall.

The fact that the wax comes with sizzling remixes by the likes of Lucy and Samuli Kemppi is just an added bonus.

Anyway, I promptly decided it was fine time for Ben to come under the magnifying glass here, so bear with me and my rambling questions; Ben offers up some fine nuggets here.

Read on, Macduff.

Your real name is Ben Mill – a kind of hybrid of Jeff Mills and Ben Sims. Short, straight, and easy to remember. Was your moniker designer-built for techno?

(Laughs) “Well, maybe! I guess the names Ben and Mill(s) are quite synonymous with techno, so you never know!”

You also make music as Chairman of the Board, Ground Loop, and previously as Bitch Shift. Do you use any other alias names?

“No, not at present. I don’t use the Bitch Shift alias anymore – I wanted to take a fresher and more mature approach to my productions and it just didn’t fit.”

You’ve remixed people like Dasha Rush, Ade Fenton, BCR Boys, DJ Warp and my own Little Nobody stuff, and in return been remixed by excellent types like Lucy, Shin Nishimura, Space DJz, Wyndell Long, Justin Robertson, Advanced Human and Samuli Kemppi. What is it about the remixing process – in either direction – that appeals to you?

“There are so many facets to the advantages of being remixed that it’s nearly too hard to mention, but the obvious ones come from both creative and exposure standpoints. Creatively, it’s always a very cool moment to hear – especially for the first time – what another artist has made of your work, their interpretation, especially if you know that artist’s musical personality, you know what to expect, and it’s a relief to hear it. The flipside is the exposure it can bring to a release, whether it be  a better known name giving the release more exposure or an artist who taps into another genre. It’s all good.

“As for remixing others’ work, I just love it. It’s brilliant to be able to get into the minds of your peers and break down the structure of their music to rebuild it in your own way. Many artists try to bring a certain ‘feel’ or dynamic to the table, a predetermined agenda, but I can’t work that way; I need to listen to the original and the parts and wait until I pick up on something – usually a feeling or vibe – and run with it, hence a lot of my work can be pretty different.”

Two years ago you told me that “Bitch Shift is really just straight, tough techno, usually percussion-heavy, and it usually serves no other purpose than to try to rock a dance floor. Chairman of the Board, however, is far more chilled; it’s house music, I guess – sometimes summery, and sometimes more cerebral. As a dance music fan with a particular penchant for the techno orientation, that leaves quite a void of diversified sounds… hence enter Ben Mill.” Has this equation changed since then (aside from the demise of Bitch Shift)?

“Yeah it has, actually. As you mentioned I’ve ditched the Bitch Shift moniker and since been producing as Ground Loop. Though not as ‘tough’ as Bitch Shift, my Ground Loop work is about as tough as I get these days… maybe I’m getting old? I still produce house as Chairman of the Board and anything from techno to tech-house as Ben Mill, though with the inception of Ground Loop I think you’ll see a shift in focus to that project with just the odd tech-house and house number coming from Ben Mill and COTB respectively.

“That all just really stems from a change in the techno landscape. Back in Melbourne’s hey day, probably more in its latter half, it was the tougher, loopier and pacier techno that came to the fore and we really had a reputation for the hard stuff down here. After that, well, the scene went a bit south so to speak – which is well-documented – and it was around that time that I lived in London for 2 years and completely fell out of touch with techno. Go figure. I guess I was stuck in a bit of a techno time warp once I got back [laughs], and the music had changed on me somewhat and I wasn’t prepared for it. I guess Bitch Shift, as good and as bad as some of that stuff is, is a nod to my past and for that I’m proud of it all.”

Where exactly in Melbourne were you born, and what’s it famous for?

“Well, I was born in good old working class PANCH… which stands for Preston and Northcote Community Hospital. Whilst I’ve lived in a few places, I spent a lot of my youth – nearly all of it, really – in the Northcote area of Melbourne’s inner northern suburbs. I went to school there, it’s shaped me, it’s where I call home. I guess it’s famous for its diverse culture; it’s a bit of a creative hotbed, it has a large ethnic and a very large Lesbian community, true though!”

What’s the “scene” like for you back in Melbourne?

“Unfortunately I just don’t get out that much anymore. It really takes a mate to be spinning or someone I really, really want to see to drag my bum out the front door after 10:00 pm these days. As much as I used to love getting out there, the ‘scene’ always came a distant second to the music for me anyway. Things are on the up and up here, though. There’s a cool niche scene for techno, by the most part being driven by a few crews and my hat goes off to them as they’re doing a great job at keeping us on the map, which is where we should be. It’s a shame it’s not as thriving as it used to be but, there are still quality – top quality – acts visiting our shores on a regular basis and I still say that this city produces the best producers in the land, hands down.”

Do you think it’s difficult for Australian electronic music to get heard?

“Well, in a sense, I guess it is. Techno has always had this strange phenomenon whereby if you’re a good DJ, then your music is instantly brilliant by association. It’s treated as the relationship between a rock band’s album and their ability to play live, but DJing to producing is nothing like that, so the sense I refer to is the one of getting your name out there, playing big gigs in big clubs and creating fans… that just can’t happen from here. There is no distance like physical distance. Of course, the flip-side is the new age of the Internet, etc. Still, I think we have it harder here than most.”

You’ve been producing music and interacting within the music industry for quite a long time now. What’s most changed in the global techno-related music industry over that period?

“Without doubt it has to be the introduction of digital technology into producing, and the Internet. When I first starting toying with production – that’s all I did… toy! – I could only dream of owning a 909, 303, 808, etc, and then BOOM! Software, samples, and so on, made it all possible to a certain degree of reality, and a whole generation of producers was born. Before the Internet and streams and podcasts I had to drag myself down to Hardware Records [in Melbourne] or wherever to buy a CD and hear the latest sounds, or go to a party to see the best DJs. Now the whole process, from producing to mastering, to signing tracks, to spinning tracks, to listening to sets, can all be done from one single seat in your studio/study/office/wherever. It’s pretty amazing.”

What keeps you motivated?

“The music. Plain and simple. Techno can be hard to understand for some, but I don’t know, I guess I just ‘get’ it. There are a lot of punters out there who tune in to easy listening commercial radio five days a week and, come the weekend, they get hopped up on substances and become part-time techno or house fans. That ain’t me. I’ve got no issue listening to techno at 7:00 am in the car on the way to work. I do it all the time.”

What gear/software are you making most use of in the studio?

“I have an iMac running Ableton at the moment. A Roland Audio Interface, Yamaha mixing console, Oxygen 8 MIDI keyboard and a pair of KRK monitors. As you can tell it’s all done in the box with various plug-ins and virtual instruments.”

Which part of your studio is the most vital facet?

“I’d say the iMac, its the newest addition and that big 27-inch monitor makes editing life a lot easier.”

Which current crop of artists and labels are grabbing your attention, and why so?

“Wow… this is such a tough question right now because doing A&R means I hear a lot of different stuff. My favourite producer right now is Peter Van Hoesen – have you heard Hope in Honesterror? It consistantly takes my breath away. Closer to home Simon Nielson’s Advanced Human’moniker is doing impressive things on a consistent basis, and one of my fave producers – not just locally – is Craig McWhinney; his Mercury/Ground Control release on Haul is divine. That’s something I was supposed to be a part of – long story – but I’m seriously kicking myself now! The dude is underrated. Stroboscopic Artefacts is my fave label outside of the ones I’m a part of, such brilliant releases consistently. Of course, there are a whole gamut of usual suspects and ones perhaps not so usual. There’s a wave of new guys coming through like Elchk, Unbalance, K.A.N, etc, who have really impressed me and I think will continue to do so.”

If you were pressed into a corner and forced to confess under great duress, how would you define the sounds/styles you’re currently making?

“Deep, sometimes dubby or dub-influenced…. hopefully it’s just techno.”

What upcoming Ben Mill productions/collaborations/events we should know about for 2011?

“Well, I’ve just had my first 12-inch released! [laughs] It features Lucy, Samuli Kemppi and Advanced Human remixes and is called Ampersand (i) by Ground Loop, through Gynoid Audio. As Ground Loop I also have a remix coming out on the Advanced Human Air 12-inch, and of course my remix of The Thin Flan for your good self [alongside Blake Baxter]. One is in the pipeline for local talent Enclave, and right now I’m working on a Ben Mill track featuring Gracie on vocals that I’m sure is going to impress.”

You’ve released through labels like Digiticed Music, IF?, and most of DJ Hi-Shock’s Elektrax-related labels like Gynoid Audio and Hypnotic Room. Any others? What’s it been like working with these diverse people?

“Yeah, I’ve just recently had a Ben Mill techno release called Arc come out via the ever underground Labrynth US, and not so long ago a house number of mine was released on Ripperton’s Perspectiv as Chairman of the Board. It’s pretty funny how diverse peoples’ approaches can be to running labels and signing tracks. Some are efficient, organized and have a specific vision whereas others are taking it one release at a time or the label is relatively non genre-specific. It’s all good though; I have a lot of respect for all of the above labels, hence I’ve released with them.”

What’s your actual role at Gynoid Audio these days, and how did this come about?

“I handle and help with the A&R. I guess I’m mostly sifting through demos, helping to organize releases, that sort of thing. Simon and I see eye-to-eye on most things, and for two people who haven’t actually physically met, we’re pretty comfortable with each other. I guess he trusts my ear for the Gynoid sound, and I’m thankful for that. As tough as it can sometimes get, it’s great fun and I’m privileged.”

As you mentioned , you’ve just released the brilliant ‘Ampersand’ EP vinyl with those remixes by Lucy, Advanced Human and Samuli Kemppi. How’d this come about?

“Ampersand (i) is an original I wrote around mid to late last year that I just felt was strong and I really thought it deserved vinyl. Its got some emotion, floor dynamics and a bit of an old school vibe. It was important to me invite the right people for the remixes in order to bring certain things to the table. I wanted a modern take, with today’s flavour of atmosphere and depth, hence the Lucy remix. Samuli instead focuses more on the emotion of the track with his deep/dubby take, and Advanced Human really worked on emphasizing the floor dynamics – so for me, all in all, it’s such a well-rounded release.”

How do you feel about your first proper record?

“It’s all very surreal! Vinyl is not a word many producers hear a lot about these days! Me? I’m excited and proud – those words work too.”

So, despite this record – is vinyl dead – or just becoming more of a select option?

“No, I don’t think it’s dead – but, yeah, it’s a niche within a niche now. I would say it’s taken a backseat to the digital world. There seems to be a real trend as to what vinyl DJs are buying as opposed to digital or Traktor DJs. The two mediums have really almost created two specific genres within techno. Stuff on wax always seems to have that depth and timeless quality, whereas digitally it’s usually more up on the latest trend and it can be harder to find more cerebral stuff in my opinion. I guess finding a crossover sound is the key.”

Is digital download really the future of music?

“I guess so. I don’t think it’s up to us. Whatever gets made by the manufacturers really will dictate our steps forward. As much credit as they get – the manufacturers of the technology we use to produce/DJ – I dont think they get enough with regards to how much influence they exert on the scene. Believe me, if they turn a frying pan into a deck, we’ll all be spinning eggs.”

Speaking of frying pans – how do you like your mushrooms cooked?

“Can I opt for raw?”

© 2011 Andrez Bergen

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