In 1999 Matt Sims (formerly known as Mount Sims) began recording under this moniker while living in Los Angeles.
While there he engaged in performances at the Parlor, a seedy din of dark wave, punk and performance with members of Psycho Dance show (a radical performance art group started by Ryan Heffington).
Incorporating cabaret, modern dance, visuals and music, Mount sims shows and music were a slap in the face to normative gender ideas, consumerism, and the growing importance of technology as a form of media and marketing by using such an over display of norms that it became abject; A lot of raw meat, catsup, emulated sex, and out of tune computer noises.
In 2002 Ultra Sex was released on Dj Hell's Label international Dj gigolo and on the very credible indie label Emperor Norton. After the success of Ultra Sex and extensive touring though out Europe and America, Matt decided on melding the nature of the performance aspect with that of a band.
In 2004 he released Wild Light, a dark and melancholic album which explored further ideas of modernity in addition to death. This album, a bit more difficult to digest than Ultra Sex confused many fans (one's who most likely took Ultra sex seriously ) and gained new ones which were more interested in the noisy electronic bursts, the angular & cold bass guitar lines and the sincere texts. The main influences of Wild Light are said to be Elias Merhige's film Begotten and the work of photographer Elad Lassery. Shortly after this albums was released, Matt did started doing remixes and production for the likes of Madonna (in which he claimed to use Charles Manson's speeches to create the Electronic Drums for the track), Christian Death ( a duet with the deceased singer Roz Williams ) & Crossover . At this time he also did a track with The Hacker entitled Traces.
In 2006 , after touring Europe again and beginning to create an even more cult following than expected, Matt moved to Berlin where he began working on Happily ever after, the most creepy and angular release to date. It was an expression of the feeling of being an outsider. Exploring themes of insanity, paranoia, and isolation, it again called out to yet another audience. Shrilling guitars, screaming vocals and pounding acoustic drums marked the sonics as something far from what people had come to expect from Mount Sims. Leaving completely behind the fans which happened to be waiting for another dance-ible pretty pop song. To produce this he used the ear of Thomas Stern of the legendary Crime and city solution and guest performances on Happily ever after included Jessie Evans (The Vanishing), Bryan Black (Motor), Toby Damit (Swans), Andre Lange and Randy Twigg. After a brief stent of touring, Matt was invited to collaborate with The Knife on a Darwinian opera entitled Tomorrow in a Year which took the stage in Copenhagen's Royal Opera house Sept 2, 2009.
Now back in Berlin, he is presently experimenting with the fusion light and sound and has locked himself up in his studio and refuses to come out until he can understand and speak the language of plants.
PUNCH RECORDS DISCOGRAPHY:
"Happily ever after...again" - CD
"Revaluation" - 12" Ltd. ed.