Ben Mill Bitch Shifts Himself

For me, 2008 was the year I gratefully stumbled across Japan's DJ Warp and Alone Together, along with a fellow Aussie called Ben Mill.

And while his own name itself may as yet mean not quite so much to people outside the circles I work with (bar, of course, his mum back in Melbourne, Australia), the guy is rapidly getting noticed through a slew of equally innovative and infectious tracks.

And after all the guy is from Melbourne. 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 (Whirlywirld) were trend-setters there in the 1970s and '80s.

Techno-wise, Melbourne has been a hotbed of creativity since the 1990s, with people like Voiteck, Zen Paradox, Honeysmack, Frontside, Digital Primate, Son Of Zev, Blimp, Artificial, and TR-Storm all emerging from that city.

Mill could be seen as part of the latest wave, and one key to this producer's success seems to be his flexibility. Mill was previously better known as techno outfit Bitch Shift but recently has also been making more house-oriented inroads as Chairman of the Board, as well as releasing more melodic sounds lately under his real moniker.

Mill has also been prolific in the remixing stakes of late, having rejigged tracks by Dasha Rush, Little Nobody, Enclave, Alkan, ABiS, Koda, DJ Warp, and others, and was in turn himself remixed by Justin Robertson - he who previously mixed Björk, Happy Mondays, Fatboy Slim, Luke Slater, and Felix Da Housecat.

So, we set out to find out a wee bit more via the contrived Q+A that follows:

What are the significant differences between each of your current projects, Bitch Shift, Chairman of the Board, and just plain Ben Mill?

"Well, producing as just plain old me really stems from the opposite poles that are Bitch Shift and Chairman of the Board. 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."

What's the point of diversifying in this manner?

"Really, it's to avoid confusion. It'd be nice to just sit down and write anything and say 'Hey, this is what I felt today, but it's still me', but the industry doesn't work that way and - whilst this is a job I love - recognition is nice, and sometimes you've got to play by the rules to gain it. Sometimes you've got to break them to gain it, too! It also helps me a bit in the studio in a weird way. Being able to put on a 'hat', power-up, and write - that gets your creative juices flowing in a specific direction."

If you had to describe your own particular niche sound, under the various aliases, in 21 words (or less) - how would you do so?

"Wow! A toughie. Bitch Shift is definitely percussive-orientated, dirty and often lo-fi. Chairman of the Board is always breezy, and Ben Mill? Well, maybe the diversification is the niche!"

What's the joy for you in remixing, and how do you approach the craft of doing so?

"I love remixing. The world is full of people far more talented than I!" (laughs). "So it's a joy to be able to deconstruct what they have done. Nine times out of 10, after listening to the track once or twice, I can hear what I think would make for a great remix or re-working of the piece. Sometimes it's one part or stem that jumps out at you; other times it's the entire work, or an attempt to really emphasize a mood or feeling that I pick up on in the original."

How did you feel about the coup of the recent Justin Robertson remix of your track 'Faith in G Minor'?

"To be honest, I'm still a bit shell-shocked. Definitely it's a highlight for me thus far - when I heard the news that he'd accepted to do the mix, I was speechless. I love Justin's remix, and in getting back to my previous answer it was an amazing feeling to hear a pro like him pick up on what I was trying to achieve, then push it to another, different level."

Which labels have you worked with, and how are they different? In what ways do you adjust to the needs of each outlet?

"The list so far goes: Digiticed Music, IF?, and sister labels Elektrax and Hypnotic Room Special Edition. All are quite different. My first release was on Digiticed, a small indie label that's non-dance specific and who ran things off Creative Commons Licensing. These days all my work goes to the other three labels. Elektrax and Hypnotic Room run in quite similar fashion and are very professional outfits. IF?, a long-time Melbourne/Tokyo label, is far more leftfield, which gives the artist far more freedom. While Elektrax and Hypnotic Room are fairly specific in sound - which is fantastic and presents a real challenge trying to get things just right, to meet certain needs yet still be different and unique - the challenge IF? throws at you is the freedom you are allowed and what exactly to do with it. I love working with all the labels at the moment, and they are definitely on the up and up."

Which other producers and/or labels are doing it for you at the current time, and why so?

"I always dread this question." (laughs). "And not because I don't have favourite artists - because I do - but because artists don't stick in my mind; tracks do! If I had to pick one, I would say that Mark Broom is really doing it for me right now. His diversification is great and always right on the money. Label-wise? Apart from the ones I am on, I'd say Naked Lunch. They really have the tough stuff by the scruff of the neck at the moment."

Speaking of right now, how's the Melbourne scene? Which producers there pique your interest?

"Melbourne techno is vibrant! It's a different sound these days than what I grew up with. More laid-back, melodic and deep, which I love and respect, from the likes of Haul music, Beat Geek, Pinksilver, etc. The 'traditional' sound is still there, though, and we are still rich with live acts such as Koda, Enclave, Son Of Zev, and so on. The beauty of it is I have probably missed mentioning a truck-load of artists! I don't get out as much as I used too. It's nice to know it's out there, though, being enjoyed and blowing minds - the same way it did mine many moons ago!"

What equipment are you currently using to produce music, and what added extras do you keep in the studio to amuse/inspire you?

"I'm all software, apart from Midi keyboard and monitors. Embarrassingly, I'm still using Logic 5.5.1" - (laughter) - "with the latest version of Pro Tools and a bucket load of VST and RTAS software I have collected over the years. An Mbox 2 feeds a pair of KRK Rokit 6s. Plenty for the space I'm in."

Any hot tips for aspirant producers out there?

"If I'm honest, I think I was a little 'green' as a producer when I had my first release, so really practice hard, hone your skills, develop your ears (and trust them) and know your theory. 'Learn the rules in order to break them' is how it was put to me recently. Take your time and understand that the little things count for just as much, if not more."

All time most-inspiring musician....?

"Good lord... um... Well, considering the current forum, it's got to be Jeff Mills. I'm on my second copy of Lifelike and I still listen and daydream regularly... Ahh."