What track was it that first got you into electronic music?
How did you get into the music business?
I was fortunate enough to be invited to the Size Records parties by Steve Angello when I was still in high school. My brother and I had contact with some of the artists on that Label like Wayne & Woods, Qulinez, Third Party, and Tim Mason and they used to invite us backstage to the parties when they played in the U.K and Ireland.
Then 6 months later I started out as a label manager (unpaid) at a Swedish record label called Void when I was 18. It was run by Simon Widman from Wayne & Woods and although unpaid, I got to work with some great artists and learned very fast how to manage digital presence and carry out A&R + Business affairs.
After that, I met Sharooz Raoofi in Belfast of all places. He was already well established in the music scene in many different areas and he acted as my mentor, where I've basically learned how to operate in many facets of the music industry ever since.
What was the initial spark for the idea of starting Jouk?
It was really just a more professional way for my inner circle and I to showcase the work we've been doing with artists and labels on and off for the last few years. This brand is just a way for us to have an official moniker for the kind of work we're incredibly passionate about. No more, no less.
What was your best gig experience?
I've had the privilege of being able to attend so many great shows, both as a tour manager and a spectator. The experience that stands out for me above all of the rest, was the first-ever Principleasure gig in East London, 2016. We basically brought a bunch of synthesizers, sequencers, and drum machines to a club basement in Dalston and the artist played a 30 min set using said machines.
It was super special as you could almost feel the energy in the air whenever the set began. There was certainly something unique about playing a gig that way, and even though the DJs before played great music, the crowd changed rapidly in that room as soon as the first sequence was initiated. It really confirmed to me that the industry I was passionate about and working in was right for me
You've spent lots of time in studios with artists, what was the most interesting bit of gear that you've gotten to see in person?
A great question, and one that I've often thought about myself. In terms of both visually interesting and sonically too, it would have to be the colossal sized Moog module-based wall I saw in a studio whilst in Berlin. It certainly had the wow factor and in a way was quite intimidating, however, I'm not sure how relevant all of those modules are for making great music in this modern-day given how far synthesis technology has advanced since those came out.
I really like Alan Braxe's current home studio setup. He is using minimal equipment, with only a few essential bits of gear, and doesn't have a computer in his setup. There's something I really admire about not having a computer in creative setup, particularly when creating ideas. Although it's not necessary to go without using one and you can still achieve amazing results musically with little gear in your setup.
Given the current global climate, times are very tough for those in all aspects of the music industry, so what do you do to keep motivated every day?
Yes, this year has been undoubtedly challenging for many of us in all walks of life, not just the music industry. I know many people and colleagues that have been affected, especially with touring and playing live.
To keep me motivated this year, I have worked almost every-day on creating a positive mentality via reading and online courses, learning new skills including those outside of music production and management, spending a-lot of time outdoors on hikes and nature trails and utilising my network to reach out to artists/labels that I really care about in order to spark new collaboration. Sometimes I have been successful and other times I have failed, however, that's all part of the industry I work in.
