Interview: Yousef

Yousef is a man of many talents. Not limiting himself to one venture, the international DJ, producer, club promoter and music aficionado struts down every avenue.

As a club music producer, Yousef admittedly never makes a track with the dance-floor in mind. Instead he channels his inner workings, his experiences, whether associated to travel, work or people. Music with a point is his mantra; ‘music that works on the dance-floor is cool but seldom memorable’, he says. Though founder of Circus Records, the artist has had a plethora of releases via other labels which in turn has enabled him to widen his audience.

He may be juggling a number of different roles but he’s more than happy to ask for a little help. Skiddle speaks to Liverpool’s Yousef; a pioneer in the house music scene who has taken reigns at Space Ibiza with a residency with Carl Cox. It seems this UK resident is more than capable of keeping his head above the unpredictable waves of the ‘recession’.

First off, why so many names: Yousef, 10000 BC, Drum Bums, Harry Monroe. Do you used each one for different things?

Just different stages of my production career. I am Drum Bums with Steve Mac, 10000 BC with Paul Woolford and both my own name and Harry Monroe are solo production. Im hoping to continue with all four names but my own name for now is what I’m concentrating on.

For a DJ, traveling is part of the job. What’s something that traveling has taught you?

Just to take things in your stride really. No point in flapping if things are not going your way; what will be will be. Seeing the world has made me develop into the person I want to be though. I’ve learned much about culture and tolerance from traveling. I’ve gathered first hand local knowledge and experienced many of the world's languages and foods and visited some really off the beaten track locations, all of which I loved seeing. My time on the road, although sometimes a bit lonely, is always welcomed.

You remix tracks and create your own. Which do you prefer?

The way I work I usually end up making a new track when I do a remix and add some bits here and there, so I would say making my own music. When I work on a project I never give myself any limitations, I don’t usually make a track for the dance-floor, I usually try to do something I’ve not done before or a musical project I’ve not been able to reach from a skill level point of view. I like to make music across the board and then develop it into dance-floor. Music with a point and a story is always best, music that works on the dance-floor is cool but seldom memorable.

Do people approach you? Do you feel much pressure when remixing their tracks?

Yes I get asked about twice a week for a remix or a track. I don’t do them all, I wouldn’t even if I had the time to. I tend to listen to the track I’ve been asked to work on, if I can catch a vibe I then agree the deal, if I’m not into the original project then I pass. That said I would like to do some more pop artists, just to see if I can turn it on its head similar to the way Van Helden did in the 90’s. He really was groundbreaking. I’m nearing completion of a remix album project that will feature new remixes I’ve done including Sven Vath, Fourtet, Giles Peterson and Fatboy Slim!

I’ve spoken to quite a few DJs who’ve said they’ve been asked to remix a song and once the song is done the other artist’s management will have changed their mind. And even though the track is uploaded onto the Internet no one really comes and says otherwise. Like there are no ramifications for not actually getting the green-light. Have you come across those sort of problems?

Yes, it's VERY frustrating and VERY bad manners. If someone remixes my stuff I always give them feedback right away and let them know if I’m into it or not. Some bigger labels seem to think feedback from the artist or even remixer is irrelevant. I cant grasp that.

Do you think this sort of situation is a positive or a negative of the Internet?

If the label does not give you the green light for the remix, it should not come out, but the deal (as in the fee or whatever) should still be paid. A deal is a deal. That said, if the record leaks and it blows up then it's great for all involved, so I guess it's better out there than collecting dust on a shelf.

You also own label Circus Recordings. Is it hard to dedicate the necessary amount of time to the label when you are a touring producer and DJ?

Yes to be honest. This year I’ve concentrated on getting other labels to release my music (Cocoon, Saved, Intec, Monique Musique) and it’s really helped get my sound to a wider audience. I will release the remix album on Circus Recordings however.

You also have a monthly club night [Circus at The Masque]. Do you think this allows listeners to feel closer to you as a producer/musician?

Possibly. I’m now a fairly developed producer but DJing is always first. I think producing music (and making it myself) has helped me click with the next generation of clubbers, particularly as a lot of the main profile DJs like Loco Dice, Luciano, Sven Vath, Ricardo Villalobos, Reboot etc…. are all playing my music.

Most expensive thing you ever bid for on eBay?

I spent $500 on a stuffed animal to send to the Fabric office for no apparent reason last year. Was funny when it arrived... long night...

Has the closing of clubs, due to the recession, had an impact on your career?

Yes I think maybe, obviously recently I lost my residency at Matter and back in the day Cream closed too. Clubs come and go the world over. My bookings are as busy now as they have ever been but I tend to play rarely in the UK. With the exception of Circus I may do one every 2 – 3 months as opposed to before which used to be 2 – 3 a month with touring. I guess as I’m releasing on high-profile international labels the demand for gigs outside of the UK has increased too. There are still many great clubs, but there are SO many great DJs so touring, I guess, is spread thinner overall.

What’s something that’s missing in the music industry that was there 10-15 years ago?

A total lack of business acumen! 15 years ago, it was still a free for all, now it tends to be strictly business, and plans, and strategies and the like.

Something that the music industry has now that it didn’t use to?

The ability to send an artist global in no time at all. Seth Troxler was super underground less than a year ago, pretty much, now he is a shining light. I love the guy, he, along with Guti are the most refreshing players in electronic music in 2010.

Does Beatport play an important part in your musical process? If so, what from 10-15 years ago would you liken it to.

There was nothing similar to Beatport whatsoever 15 years ago. It’s totally revolutionised the industry. I love it more now than ever, you can really find some great music on there if you are prepared to look; which I do every week.

On stage do you put great emphasis on stage-set up? Lights, smoke etc?

For me the most important things are my DJ set up (which is now three CDJ 2000, 1 EFX 1000 and a DJM 2000 – or Allen and Heath Xone) if the club has this and good sound we can party. I do like a club with great lights and production but a dark room and great sound with great music are the only things that really matter in a club.

Interview by: Jasmine Phull

Catch Yousef and Steve Lawler at Circus on December 27th. Tickets are available below.

Tickets are no longer available for this event