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Mount Sims

Mount Sims is the stage name of Matthew Sims, a Berlin-based electronic musician, DJ, , and known for his provocative, genre-blending work in , , and darkwave. Previously the lead singer and bassist of the hip hop/rock band , a native of , , Sims emerged in the late LA underground scene, creating music that combines sensual debauchery, , and surreal imagery, often performed with a trio of dancers despite being a solo studio project. Sims' career gained momentum in the early 2000s when he signed with International DeeJay Gigolo Records under , leading to his debut album Ultrasex in 2002 on Emperor Norton Records, a featuring the provocative hit "Hate Fuck." His follow-up, Wild Light (2005), shifted toward darker themes with collaborations including of , solidifying his reputation for innovative electronic pop infused with influences. Relocating to in the mid-2000s, Sims formed a live band with musicians Randy Twigg, André Lange, and Thomas Stern, releasing the A Grave EP and the album Happily Ever After (2008) on labels like Hungry Eye . Notable collaborations include a of Madonna's "Nobody Knows Me" (2003) and contributions to The Knife's experimental opera Tomorrow, in a Year (2010), premiered at Copenhagen's Royal Danish Theatre. More recently, he partnered with on the 2023 album for Rabid , exploring steel drum harmonics and colonial histories through unconventional instrumentation. Throughout his career, Sims has also worked on remixes for artists like Christian Death's and maintained an active presence in electronic music, emphasizing performances.

Early life and influences

Upbringing in Milwaukee

Matthew Sims, known professionally as Mount Sims, was born and raised in , , establishing deep roots in the city's cultural landscape. Growing up in during the 1970s and 1980s, Sims was immersed in a family environment that fostered an early appreciation for music, particularly through his older brother's influence. His brother, an aspiring guitarist, exposed him to a diverse array of sounds from his extensive record collection, including soul and funk artists like and , as well as electronic pioneer . This familial introduction sparked Sims' initial fascination with performance and rhythm, shaping his conceptual understanding of music as a blend of emotional expression and technical innovation. Milwaukee's vibrant local music scene in the late provided formative experiences that further ignited Sims' interest, with the city's mix of , , and emerging alternative influences offering accessible outlets for young creatives. Neighborhood venues and community gatherings highlighted the communal power of live music, encouraging Sims to explore performance as a means of personal and social connection amid the industrial city's evolving cultural identity. These environmental factors, combined with his home-based musical education, laid the groundwork for his later pursuits, eventually leading to formal involvement with the band .

Initial musical explorations

Mount Sims, born Matthew Sims, began exploring music in his youth in Milwaukee, Wisconsin, where his upbringing fostered eclectic tastes influenced by a diverse array of sounds from his family's record collection. At the age of 13, he formed his first band, a cover group, alongside future music journalist Josh Modell, marking his initial foray into performance and group collaboration within the local scene. This early endeavor highlighted his budding interest in and alternative genres, setting the stage for further involvement in Milwaukee's community. Throughout his teenage years and into young adulthood, Sims immersed himself in the city's vibrant local music scenes, playing with several bands that experimented with emerging styles. He contributed to the outfit The Pacers, as well as the groups and , where he honed his skills in live performance and songwriting amid the energetic, genre-blending atmosphere of Milwaukee's clubs and venues. These experiences provided a platform for his pre-professional development, allowing him to navigate diverse influences from to without formal band commitments. Largely self-taught, Sims developed his musical abilities independently, drawing inspiration not only from auditory sources but also from , which informed his creative process during these formative experiments. His initial forays into sounds foreshadowed the alternative and electronic elements that would define his later work, as he began blending rhythmic experimentation with provocative themes in informal settings before transitioning to more structured projects.

Career with Citizen King

Band formation and breakthrough

Citizen King formed in 1993 in Milwaukee, Wisconsin, emerging from the remnants of the local band , which had gained recognition for its energetic live performances blending , , and elements. The core lineup included vocalist and multi-instrumentalist Matt Sims (known as Mount Sims), who served as lead singer from the band's inception and took on bass duties starting in 1997 after bassists Sage Schwarm (1993–1995), John Dominguez (1995), and Cory Coleman (1995–1997); guitarist Kristian Riley; keyboardist Dave Cooley; turntablist Malcolm Michiles; and drummer DJ Brooks. The band quickly established a local following through high-energy shows and released their debut album, Brown Bag LP, in 1995 on the independent label Don't Records. This effort showcased their eclectic mix of hip-hop, soul, and alternative rock, with tracks like "100 P.S.I." highlighting Sims' distinctive vocal delivery and the group's rhythmic interplay. Building on this foundation, Citizen King signed with Warner Bros. Records and issued their major-label debut, Mobile Estates, in 1999, which refined their sound for broader appeal while retaining its gritty, genre-blending edge. The album's , "Better Days (And the Bottom Drops Out)," marked the band's breakthrough, peaking at number 25 on the chart in September 1999 and driving significant radio play and commercial success for Mobile Estates. Featuring Sims' charismatic vocals over a reggae-infused beat with and layered instrumentation, the track captured the band's optimistic yet ironic lyrical style, propelling to national prominence and extensive touring opportunities.

Decline and disbandment

Following the breakthrough success of their 1999 single "Better Days (And the Bottom Drops Out)," which peaked at number 3 on the Modern Rock Tracks , Citizen King encountered significant challenges in sustaining commercial momentum. The band's sophomore album Mobile Estates achieved moderate performance, reaching number 27 on the Heatseekers Albums , but subsequent singles failed to replicate this impact amid shifting trends and competition in the and fusion genres. Post-1999, the group faced undisclosed internal issues that hindered further creative output and cohesion, compounded by the inability to secure major label support for new material. No additional studio albums were produced, limiting their releases to compilations of earlier demos and outtakes, such as the 1997 collection Sydney Hih featuring unreleased tracks from 1993–1996. These factors contributed to a gradual decline, with the band unable to capitalize on their one major hit despite ongoing live performances and promotional activities. Citizen King officially disbanded in 2002, marking the end of their collaborative efforts after nearly a decade together. Vocalist and bassist Matt Sims, seeking greater artistic autonomy, decided to pursue a solo career under the moniker Mount Sims, initiating a transition toward electronic and . This shift was evident in his early solo endeavors, including production work and the development of his debut UltraSex, released later that year on International Deejay Gigolo Records.

Launch of solo project

Move to Los Angeles and early performances

Following the disbandment of in 2002, Matt Sims relocated to around that time to pursue new creative directions in music and performance. There, he established his solo project under the moniker Mount Sims, shifting from band dynamics to a more experimental, multimedia approach that emphasized live spectacle. Sims' early performances as Mount Sims featured him supported by three dancers, creating a performance group that integrated electronic music with theatrical elements reminiscent of The Fall's ensemble style. These shows blended political satire, surreal imagery, and sensual debauchery, startling audiences with their bold, unconventional energy. The acts drew comparisons to artist Paul McCarthy's provocative food-based works and James Brown's dynamic hip-shaking stage presence, highlighting Sims' fusion of high-concept art and visceral performance. Central to these early endeavors were explorations of the contemporary connections between , , , and , using as a lens to societal intersections in a visually arresting manner. This foundational phase in laid the groundwork for Mount Sims as a boundary-pushing performance entity, prioritizing live immersion over traditional recording.

Debut album UltraSex

Mount Sims signed with International DeeJay Gigolo Records, the label founded by , which released UltraSex in Europe in late 2002. The album saw a U.S. release on Records in 2002, marking Sims' entry into the international scene. As a solo effort, UltraSex was entirely produced, performed, and engineered by Sims himself, handling vocals, instrumentation, and all aspects of the recording process in . The album's creation drew inspiration from Sims' early performances in , which infused its themes with provocative, nightlife-infused energy. Characterized by its electro-pop style, blending synth-driven beats with sexually charged lyrics, UltraSex achieved status for its bold fusion of and pop sensibilities. Standout tracks include the opener "How We Do," which sets a pulsating tone with its minimalist synth hooks, and the hit single "Hate Fuck," released in 2003 and noted for its raw, confrontational exploration of desire and conflict. The album's impact extended to film, with the track "Torn Into" featured in the 2003 movie Lost in Translation, courtesy of Emperor Norton Records.

Mid-career developments

Wild Light and stylistic shift

Mount Sims released his second studio album, Wild Light, in 2004 on International Deejay Gigolo Records, marking a significant evolution from the electro-pop foundations of his debut UltraSex. The album delves into darker thematic territory, exploring obsession, isolation, horror, and madness through a sonic palette that incorporates and underground influences. This shift blends noisy, atmospheric elements with melodic structures, drawing on and aesthetics to create a mix of upbeat, danceable tracks and slower, introspective soundscapes. Key tracks such as "No Yellow Lines" and "Restless" exemplify this stylistic departure, featuring grooving basslines, synthesized vocals reminiscent of 1980s electro, and minimal production that emphasizes tension and mood over dense layering. Recorded at Bad Blood Studios in Los Angeles, the album's production highlights a move away from purely electronic compositions toward hybrid forms that integrate raw, industrial edges with melodic hooks. Collaborations enriched the album's texture, with David J of Bauhaus contributing to its gothic-tinged electro sound, Roger Manning Jr. (known for work with ) providing additional synth and production on tracks like "Restless," and vocalist Echo Angelica Danon adding layers to select songs. Visual artist Elad Lassery also participated, influencing the album's aesthetic presentation. These partnerships underscore Mount Sims' immersion in the LA scene, amplifying the record's noisy yet melodic intensity.

European tours and Madonna remix

Following the release of his 2004 album Wild Light, Mount Sims undertook extensive tours across , performing as a three-piece to promote the record's and experimental sound. These tours marked a shift from his earlier performance-art-oriented presentations, such as those accompanying his 2002 debut UltraSex, allowing for a more conventional live setup that emphasized instrumental interplay and audience engagement in clubs and festivals throughout the continent. In 2003, Mount Sims gained significant recognition for remixing Madonna's track "Nobody Knows Me" from her album . The remix, available in versions like the Old School Mix and Italo Kiss Mix, incorporated time-compressed samples of Charles Manson's voice to create distinctive patterns, blending the original's pop structure with gritty, edges. This collaboration appeared on Madonna's remix compilation , highlighting Mount Sims' ability to infuse mainstream tracks with subversive elements. Around the same period, Mount Sims collaborated with Rozz Williams of the gothic rock band Christian Death on a remix of their seminal track "Spiritual Cramp." Released in 2003 on the compilation Goth Goes Electro, the Mount Sims Remix transformed the 1982 punk classic into an electro-infused piece, preserving Williams' haunting vocals while adding pulsating synths and rhythmic distortions. This project underscored Mount Sims' affinity for reinterpreting darkwave and post-punk material within electronic frameworks. During the mid-2000s, Mount Sims contributed remixes to a diverse array of artists, further establishing his reputation in the and alternative scenes. Notable examples include his reworkings for Marc Almond's "" in 2008, which amplified the track's flair with driving beats, and contributions to compilations like The Great Electroca$h Swindle in 2003, where he curated and remixed selections from acts such as and . These efforts showcased his versatility in bridging underground goth and mainstream pop aesthetics.

Berlin era and later works

Relocation and new band formation

Following European tours promoting his work, including the 2004 album Wild Light, Matthew Sims, performing as Mount Sims, disbanded his three-piece touring band in the mid-2000s and relocated to , , seeking a fresh creative environment. This decision marked a pivotal shift away from the performance-art-oriented style of his earlier work, influenced by the vibrant electronic music scene he encountered during those travels. In , Sims restructured his project into a new band format, assembling a lineup that included Randy Twigg on bass, Andre Lange on drums, and Thomas Stern—known for his work with the group Crime and the City Solution—handling sound and production duties. This with local Berlin musicians provided Sims with a stable ensemble to explore expanded live and studio possibilities. The new configuration facilitated a stylistic evolution toward a creepier and more aggressive sound, departing further from pure roots and setting the stage for subsequent releases. This transition emphasized darker, more intense sonic textures, reflecting Sims' immersion in Berlin's underground aesthetic.

Happily Ever After and opera collaboration

In 2008, Mt. Sims released the A Grave EP on Hungry Eye Records, marking an early output from his newly formed band project that shifted toward darkwave and influences. This was followed later that year by the full-length Happily Ever After, also on Hungry Eye Records, which featured guest contributions from musicians including Jessie Evans on vocals for tracks like "Dig It In" and "Andy or Jenny," Toby Damit—known for his work with Swans and —on drums, Bryan Black of Motor on additional production, and Jackson and His Computer Band on co-production for "Grave." The album's visual elements were developed through a collaboration with artist of the CROSSOVER collective, incorporating striking graphic designs that complemented its thematic exploration of obsession and loss. During this Berlin-based period, Mt. Sims also briefly joined the electronic supergroup The Silures—founded by and Linda Lamb—in 2008, contributing to live performances and recordings before departing in 2009 to focus on solo endeavors. In 2010, he expanded on the Happily Ever After material with the release of Happily Ever After... Again, a and edition that included alternate mixes such as "Love's Revenge" and "," further emphasizing the project's evolving sound. A major highlight of this era was Mt. Sims's six-month collaboration with Swedish duo (Olof and ) and artist on the electro-opera , commissioned by the Danish performance group Hotel Pro Forma. Mt. Sims co-composed the music alongside , contributing to tracks like "Colouring of Pigeons" and "Seeds," while the team collectively developed the inspired by Charles Darwin's , blending experimental with operatic structures. The opera premiered on September 2, 2009, at the Royal Danish Theatre's Old Stage in , with subsequent performances, and the studio recording was released in 2010 on Rabid Records.

Later collaborations and releases

In the years following the opera project, Mt. Sims continued to explore and experimental music from . A notable later collaboration was with on the 2023 album , released on Rabid Records, which delved into steel drum harmonics and colonial histories using unconventional instrumentation. The project originated in 2010 but evolved over the subsequent decade.

Musical style and artistry

Genres and influences

Mount Sims' music is rooted in electronic genres, with prominent elements of evident in his early work, characterized by synthesized beats, provocative vocals, and dance-oriented structures. As his career progressed, influences from and emerged, incorporating angular guitar riffs and rhythmic urgency into his electronic foundation, particularly during his mid-career phase. Later albums shifted toward aggressive darkwave, blending brooding atmospheres and edges with electronic production, marking a departure from his initial electro-pop leanings. Key influences on Sims' sound include the Los Angeles underground scene, which infused his music with raw, experimental energy and a DIY during his formative years. Collaborations, such as with of , brought post-punk sensibilities and bass-driven textures to his tracks, enhancing the darkwave and gothic undertones in releases like Wild Light. Artistic inspirations from figures like shaped the conceptual layering in his electronic compositions, while broader nods to and added rhythmic propulsion to his evolving style. In more recent works, such as the 2023 collaborative album with , Sims has explored experimental ambient, electroacoustic, and tribal ambient genres, centering on steel drum harmonics to examine colonial histories and the steelpan's cultural shadows. A core aspect of Sims' artistry is his self-production approach, where he handles vocals, , and overall almost exclusively, allowing for seamless integration of elements with live in later works. This method evolved from purely synthesized arrangements to setups, incorporating guitar, bass, and through band collaborations, which grounded his palette in textures without diluting its synthetic core. Such techniques underscore his commitment to a cohesive sonic identity across genres.

Themes and performance style

Mount Sims' lyrical content frequently explores the darker facets of human experience, including , , , and , which serve as recurring motifs to probe psychological depths and societal unease. These themes often intertwine with targeting , , and sexual norms, critiquing how such forces distort personal and collective identities. Additionally, elements of sensual debauchery and infuse his work, blending erotic excess with dreamlike absurdity to challenge conventional boundaries of desire and reality. In performance, Mount Sims has cultivated a provocative style that amplifies these themes through immersive, visually driven spectacles, evolving from early installations accompanied by dancers to more structured formats. Initial shows featured collaborations with dancers, including choreographer , to enact satirical and surreal imagery, such as exaggerated critiques of and sexual taboos, creating an atmosphere of chaotic intimacy reminiscent of provocations. Over time, this shifted to mid-career tours with a three-piece , where visual elements remained integral, incorporating projections from artists like Elad Lassery to heighten the thematic impact of isolation and madness on stage. influences provide a sonic vehicle for these motifs, underscoring the raw, confrontational energy of his live presentations.

Discography

Studio albums

Mount Sims' debut studio album, UltraSex, was released in 2002 on International DeeJay Gigolo Records in and Emperor Norton Records in the United States. This electro-pop record established his early sound, blending synth-heavy tracks with provocative themes, and achieved cult status through standout single "Hate Fuck," which highlighted his raw, dancefloor-oriented production style. His second album, Wild Light, arrived in 2005 via International DeeJay Gigolo Records, marking a stylistic pivot toward darker influences compared to the debut's upbeat . The record featured collaborations, including bass contributions from member on select tracks, and incorporated synth elements produced by Roger Joseph Manning Jr., emphasizing themes of isolation and intensity. In 2008, Happily Ever After was issued on Hungry Eye Records, embracing an aggressive darkwave aesthetic with explorations of obsession and human darkness. Guest appearances included percussionist Toby Dammit—known for work with Swans, , and —alongside contributions from Bryan Black of Motor, adding layered, industrial-tinged textures to the album's narrative-driven songs. An expanded and reimagined iteration, Happily Ever After... Again, followed in 2010 on Punch Records, incorporating alternate mixes and additional material to deepen the original's sonic palette while retaining its core darkwave aggression. This release extended the thematic focus on revenge and emotional turmoil through remixed tracks like "Love's Revenge." In 2023, Mount Sims collaborated with (of ) on the studio album , released by Rabid Records, which experimented with steel drum instrumentation in a tribal ambient framework across five tracks, diverging from his prior electronic roots to explore acoustic-electronic hybrids.

EPs, singles, and collaborations

Mount Sims released his debut EP, A Grave, in 2008 through Hungry Eye Records, featuring four tracks that blended and influences, including "Breaking the Ice" and "Grave." In 2023, he collaborated with Made From Shadows on the History Is Not Shrinking EP, released via Hallucienda, which included remixes and featured vocalist Linda Lamb on the title track, exploring and elements. Among his notable singles, "How We Do" was issued in 2003 on Emperor Norton Records as a 7-inch , marking an early highlight with its synth-driven energy. "Hate Fuck," released in 2002 on International Deejay Gigolo, served as a provocative with and vibes, later included on his debut UltraSex. In 2004, "No Yellow Lines" appeared as a 12-inch on International Deejay Gigolo, paired with "Restless" and showcasing sounds tied to his Wild Light era. Mount Sims has engaged in several major collaborations, expanding his electronic palette. In 2010, he contributed to the electronic opera Tomorrow, In a Year alongside The Knife and Planningtorock, released on Rabid Records, which adapted Charles Darwin's On the Origin of Species into a 16-track conceptual work blending ambient, industrial, and experimental sounds. In 2012, he provided vocals for Leila's album U&I on Warp Records, notably on the track "U&I," infusing it with his performance-art style amid the producer's glitchy electronica, with contributions recorded around 2010. In 2011, Sims contributed to The Silures, a project founded by Vitalic and Linda Lamb on Citizen Records, including the Roses EP with electro and vocal-driven tracks. His 2023 collaboration with Olof Dreijer (of The Knife) resulted in the album Souvenir on Rabid Records, a five-track exploration of steel drum harmonics in a tribal ambient framework. Additionally, in 2003, Sims remixed Madonna's "Nobody Knows Me" into the Italo Kiss and Old School versions for Warner Records, adding electroclash flair to the American Life single. Sims also produced remixes for Rozz Williams of Christian Death, including tracks from the 1990s.

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