Three decades into a storied career that’s seen him carve his own path through dance music’s evolution, Yousef stands as a true testament to his artistic integrity. With his fifth album ‘I Operate In Purple’ marking 30 years in the industry, the Circus Recordings founder reflects on a journey defined by independence, emotional authenticity, and an unwavering commitment to house music’s roots. From his early days navigating rave culture to running a label that champions emerging talent, Yousef has consistently chosen the harder road, one that prioritizes creative fulfillment over playing “the bangers.”
In this interview, he opens up about the meaning behind his purple-hued album, the changing landscape of dance music, the role of AI in production, and why, after all these years, he’s more in love with the music than ever before.
1. Congratulations on 30 years in the music industry and your fifth artist album, ‘I Operate In Purple’. That’s an incredible milestone. When you look back at your journey from where you started to now, what stands out most to you about how you’ve evolved as an artist?
It’s hard to believe it’s been such a journey. When I think back to where I started, I’m struck by how much I’ve grown, not just as an artist but as a person. The learning never stops, and each chapter has brought its own set of surprises and lessons. I’ve become more adventurous with my sound, more confident in my choices, and more open to letting the music take me somewhere unexpected. The evolution has been all about embracing change and staying curious. I think the thing I’m most proud of is my independence as an artist, I’ve never followed anyone and I’ve never been part of a clique really… sometimes that makes things commercially difficult, as people, fans or even promoters are not always certain what I do as a DJ or an artist, but I have always followed my gut and play and make music I love. I try to be creative and original as a DJ and as a producer and always aim to lead from emotion with everything I do. I guess with everything in my life, I’ve always taken the longer and harder but more fulfilling road, and I’m proud of that. I don’t “play the bangers” but sometime my tunes cross over into a wider audience, even though they are designed as a creative release rather than going for radio plays. The aim is to release the music that’s inside me rather than make just DJ tools “that work” that’s fun too, but it’s not hard enough for me.
2. The album title ‘I Operate In Purple’ is intriguing and quite visual. What does purple represent for you, and how does that tie into the themes and emotions you wanted to convey on this record?
Purple has always felt intrinsically mine, almost like a thread running through my life since childhood. I was drawn to anything purple—clothes, shoes, everyday objects—as if the colour chose me as much as I chose it. To me, purple symbolises positivity, strength, motivation, and dignity, especially during challenging times.
3. You’ve released five albums across your career, each marking different chapters. How do you approach the album? How is it different for you from producing singles or EPs?
Most of my albums have begun with an idea and a reason to say something creative. Sometimes I just have a ton of tunes ready, like “in the process of 8”, which as it had no story, nobody connected with it really, which is telling, the audience can tell the difference. Once I have the concept in place, I refine the idea and literally go on the journey starting that day. I start drafting demos and decide which demos feel right and colourful within the mental format I’ve invented! I then ask my master musician Tim Hutton to work his magic and then once I have that back, the next phase is a song or a vocal or not. Then after that, I send for mixdown… so it’s a process for each track. With singles, it can be the same process or, it can be a gnarly DJ tool I’ve made in an hour and mastered at home, which is a different, less emotive vibe, but they are designed to wreck dance floors only, fortunately my album tracks wreck dancefloors but have a story too.
4. Has your studio workflow changed significantly over the 30 years you’ve been producing? What is your current creative process?
It’s funny, I was always terrified of plugging in outboard gear, trying to get midi to work and keyboards to connect, so I used soft synths and made music in the box largely. So nowadays, “in the box” is all you need. I made the album at home on an old computer, with a ton of remote working, Not one of the many collaborators came to my house to work on anything throughout the entire process.
5. Artificial Intelligence is becoming increasingly prevalent in music production, with AI-generated tracks and AI-assisted tools emerging everywhere. As someone who’s dedicated three decades to mastering the craft of production, what’s your take on AI in music?
I think it’s another tool we can use. As someone who’s trying to tell a story and making music for me is sometimes to release a cathartic tale… using AI is often used to make music just to say you’ve made music, so where is the therapy in that? I’m happy to use AI for some technological advances. Stem separation is essentially AI and I use that so there is a place for all tools in the studio. I’m not worried as my art is for me and what will be will be, which is the way you should view any art IMO
6. Tracks like ‘In My Shoes’ have been described as a sassy tribute to house music. After three decades in the scene, what does house music mean to you now, and how has your relationship with the genre evolved over time?
Yeah “shoes” is a fun one, its scrappy and random and very Chicago and NYC 90’s house in lots of ways, which is the essence of house music. The reason I made this album was to remind people or at least the newer ravers and producers that house music has a deep history, that’s extremely accomplished, that’s more than a few sample pack sounds thrown over a ripped R&B vocal. This album was designed to be difficult to make for these reasons, each extra hour spent on it, each vocal written or horn blowed, or piano played, each story told, it’s all meant to mean more, that’s my relationship with house music, it means a great deal.
7. You’ve been consistently touring the world’s finest clubs and festivals for three decades now. What are some of the biggest challenges of maintaining that level of travel and performance, and how has your approach to touring and self-care on the road evolved over the years?
Its interesting you say self-care, before covid I thought I was healthy! I didn’t drink too much, didn’t do drugs and thought I was eating healthy and worst of all, thought I was enough of a committed father which is very important to me Post covid, when I began touring again, I realised that the travelling, even in comfy class was brutal on your body… Missing sleep is worse than smoking on your body… So I’ve cut back touring a huge amount and improved my health across the board, and I’m now very much the committed father I want to be. With all these changes when I do tour, I love the gigs so much more, I’m not on the hamster wheel and I love playing more than ever.
8. After all these years running the label, what do you think has been the key to maintaining its identity and relevance in such a rapidly changing industry?
I focus on signing new names to the label and building them up. Similarly at the Circus events, we try to make sure we are booking new names all the time, which means our audience is 18-26 (for the most part) for both the label and the events. It’s important to look forward only, the past and guide you but it can’t be replicated anyway so let’s see what’s out there!
9. Looking at how the dance music scene has evolved over your 30 years in it, from the underground rave culture to the massive festival circuit we have today, what changes have you embraced, and what do you miss about the earlier days?
The technology has allowed the locations of raves and access to the music to become global and available to anyone that’s crazy enough to want to make it their life or your hobby! I miss going out as a raver and getting lost in the music and dancing all night long, I’ve not done that for a long time… I miss messing around in clubs like a child in a kid’s party, which was always partially my rave behaviour! I loved the music, but I LOVED the after parties in houses as much, the funny side of the rave was (is) very important to me. These two attributes were what my event Circus was built on, great new music and as much fun as possible.
10. As you look ahead beyond this album, what are you most excited about exploring next, both personally and with Circus Recordings?
I’m excited to continue to support new names. We just released Movements 8, which is the 8th compilation I’ve released specifically to support up to 20 new artists and their music. The compilations of 20 tracks, mean there are 20 people, and their friends and me and circus all shouting about one another’s music simultaneously, which gives the project and fighting chance to cut through.