Ben Evers

Hey Ben! How was your summer? Hey guys, first of all, thank you so much for having me for this interview. My summer has been pretty fantastic so far. I’ve spent a lot of time in the studio, visited some amazing cities, and, most importantly, I married the love of my life, Maya. On top of that, I had two releases on Live At Robert Johnson and Correspondant, and launched my very own label, *Eternal Sunshine*. At this point, I really can’t complain—things are looking great! Your Eternal Sunshine label had a very well-received first single; could you tell us about the upcoming EP, ‘Acid Orchestra’, and what it’s been like so far to run your own imprint? After the first single, ’Let It Go’, (which had a more upbeat, pop-leaning vibe) I really wanted to showcase a grittier, club-focused side of my sound with the second release. I’m a big fan of acid, raw hi-hats, booming kicks, and driving bass-lines, and that’s how ‘Acid Orchestra’ came to life. For *Breakout Riddim*, I aimed to bring an old-school vibe, tapping into my love for dancehall, creating something that spreads good vibes on the floor without taking itself too seriously. That’s the whole ethos of ‘Eternal Sunshine’ —positive, uplifting energy, even if a track has darker tones. The beauty of having my own label is the creative freedom—I can release anything that excites me, whether it’s singalong tunes, easy listening, or full-on club music. Right now, I’m definitely focused on making dance-floor bangers. Man Power provides a remix of ‘Acid Orchestra’ on the upcoming record; What drew you to Man Power for this mix and what value do you feel remixes add to a record in general? I’ve been following Geoff for quite a while and have become a huge fan of his work over the years. He’s got an incredible sense of direction and is a super-talented, experienced producer with that certain “something”’ I always look for in remixers. His music has this effortless vibe that fits perfectly with ‘Eternal Sunshine’; plus, I’ve already had a great experience working with him years ago when he remixed a track for another label I was involved with, and just like with ‘Acid Orchestra’. He absolutely nailed it; thanks Geoff, I’m really happy with your remix! In general, remixes offer an opportunity to reach a new audience or push a track in a different direction. It’s also just exciting to see what artists I admire do with the remix stems. For instance, with Jex Opolis’ remix of ‘Let It Go’, it ended up being the version I played in my sets more often than the original, and I’m not too proud to admit that. It was simply a fantastic remix! What are some of your favourite pieces of hardware to use when producing records and why? Honestly, right now I do everything on my laptop and work entirely digitally since I’m often producing at home or on the go. I rely heavily on Omnisphere, Universal Audio’s Mini Moog, ‘Sylenth’ by Lennar Digital, and Arturia’s DX7. I had to name a couple of favourite hardware pieces, it would probably be my Juno 106 and Behringer TD-03. I’m also looking to add an E-MU Orbit 9090 and Yamaha TX81z to my setup soon. You’re currently based in Hamburg, where do you perform most often and what stands out as your most memorable set? Right now, things are tough in Hamburg with many clubs having to close down. Unfortunately, that includes PAL, where I always felt at home and loved playing. This summer, my wife and I played at Heloise, which was organised by the same team behind PAL; I’m hopeful it will make a comeback, there’s just no place like it for playing those long, 14-hour, all-night sets. That was definitely a highlight of my career, even though it wasn’t under the name ‘Ben Evers’ at the time. Have you had any songs on repeat recently? Oh yeah, quite a few! Don’t think I’m crazy, but since watching ‘Monsters’ on Netflix, I’ve had ‘I’m Gonna Miss You’ by Milli Vanilli on repeat. What a killer track, and it fits the scene in the show perfectly. Otherwise, I’ve been spinning Jamie xx’s new album, Rampa’s remixes for Tame Impala and Uncle Waffles, Cromby’s Diva, Bob Marley’s Exodus, TSHA’s Green, and Casisdead’s Marilyn ft. Connie Constance (by the way, Connie is an incredible vocalist and would be a dream feature). Also, The Edge by David McCallum and I’ll Remember by Madonna. As you can see, it’s not always about house music—I love tunes from all genres and eras. Where can we expect to see you performing later this year? Honestly, the Ben Evers project is still in its early stages, so the calendar for this project is pretty open towards the end of the year. But that’s totally normal at the beginning, and I’m basically locking myself in the studio every day to change that!