Magazine Sixty Interview with YAMA MUSIC. Celebrating their tenth release, join our conversation with Paul about all things YAMA, plus thoughts on music culture, production and the arts.
Welcome to Magazine Sixty, Paul. Could you tell us where the term YAMA comes from, what your memories are of putting the first release together, and how you would describe the journey from then to now in terms of the positives and negatives of running a label hitting its tenth release?
It’s a pleasure, and thanks for having me. YAMA was born from the idea of getting back to the stripped-back minimal sound that I used to listen to when I was partying in East London. Back then, labels like Perlon, Minibar, Freak’n’Chic, Oslo, and M_nus dominated record boxes and have been a staple in mine ever since.
I wanted to create something aligned with that sound but brought up to date, and it coincided with the rise of Yoyaku, who were putting out similar records around the same time. I think that’s why it was so easy for us to work together. The sound was already there, and we were both trying to push it forward.
The first release came about because, at the time, the idea was to self-publish an EP every month via Bandcamp. The music was already there; it was just a case of piecing together the tracks that really stood out to create an EP that represented the musical direction I wanted to take. That’s essentially how it has always been; the label has focused on that minimal, deep sound, which has appeared in various guises over time.
Staying true to a sound you love and not being tempted by whatever shiny new trend happens to be in vogue has helped the label stick around, and people seem to connect with that. You see a lot of trends come and go in London, and I’m always amazed at how quickly some artists jump onto the next fashionable bandwagon, sometimes even contradicting things they’ve said in earlier interviews. It often feels like they’re chasing money rather than focusing on the art, whereas for me it has always been about staying authentic to the music.
What do you look for when signing a piece of music? Are there certain attributes music must contain?
The music signed from other artists has always come down to the fact that I either love the artist or know them personally. When that’s the case, you can almost trust them to deliver something that fits the label naturally and stays true to its identity.
With the next release, it was all about creating a record that reflected the influence of both artists. Audio Werner is a producer who has been at the forefront of the minimal scene for many years, and his records are considered bona fide classics within the genre, so having him involved was a no-brainer. The same goes for Varhat, he was an early adopter of YAMA and played an integral role in our connection with Yoyaku, plus he’s also one of the most prolific producers out there.
Having them both on one record was really special for me, as I’m a huge fan of their work, and they’re also great people to collaborate with.
How do you see club culture evolving in the UK, especially since the effects of Covid? It certainly feels like there has been a realignment among bars, restaurants, and clubs. Do you think that is also down to a change in people’s social habits? Do you think it could reach a stage where clubs are less important in the cultural landscape than they were?
I think club culture in the UK is definitely changing, and Covid just sped everything up. A lot of venues never reopened, and now the cost of living is probably the biggest issue. People simply don’t have the money to go out like they used to. Tickets are expensive, drinks are expensive, transport is expensive, and for a lot of people a night out has become a luxury rather than something they do regularly.
You can see the realignment between bars, restaurants, and clubs because venues are trying to survive. Many are focusing on food, earlier events, or multi-use spaces because relying on late-night clubbing alone isn’t sustainable anymore. Social habits have changed too, people go out less, plan more carefully, and are much more selective about where they spend their money.
I do worry that clubs could become less central to the cultural landscape if things keep going this way, especially for younger crowds who are being priced out of nightlife altogether. But at the same time, underground spaces will always exist because people still want that connection through music. It just feels like the scene is under a lot more pressure now, and survival is harder than ever.
Should dance music inherently contain a political message, or is it more about personal expression on a dancefloor?
I don’t think dance music has to inherently carry a political message. For me, it’s more about personal expression and giving people a space to be themselves on the dancefloor. Clubs have always been places where people can escape everyday life, let go, and express who they are through music, movement, and community, and that’s where the real power of dance music sits.
Of course, dance music has political roots and has often been tied to social movements and underground culture, but I don’t think every record or every party needs to make a statement. Sometimes the most important thing is simply creating an environment where people feel free, safe, and able to express themselves without judgment.
When people are comfortable enough to truly express themselves on a dancefloor, that in itself becomes a powerful statement. It’s less about pushing a direct political message and more about creating a shared space where individuality, creativity, and connection can naturally exist.
What does the term Minimal mean to you in 2026? Does it remain a radical departure from traditional House structures, or has the term, alongside its music, evolved into something else?
To me, Minimal in 2026 is more about a mindset than a strict genre. It’s not really a radical departure from House anymore, because over the years the sound has blended into different styles and evolved into something more fluid. What still defines it for me is the focus on space, groove, and detail, stripping things back to the essentials and letting the rhythm and atmosphere do the work.
Back in the day, Minimal felt like a real break away from traditional House structures, especially with labels like Perlon and Minibar pushing a deeper, more hypnotic and less obvious approach to dance music. Now it feels more like a language that producers and DJs use rather than a fixed category. You hear elements of it in deep house, tech house, and even more experimental club music, so the term has definitely evolved.
I think today Minimal is less about being radical and more about intention. It’s about subtlety, groove, and creating a journey on the dancefloor rather than chasing big drops or obvious hooks. In that sense, it still holds its identity, but it’s matured into something more timeless and adaptable rather than a strict underground movement.
How do you see the effects of social media and streaming for both artists and labels? How do you see the future in those regards?
As a vinyl-only label, streaming doesn’t really have a huge influence on what we do. YAMA does have a presence on streaming platforms, but it’s not the main channel we focus on or promote. That being said, streaming is clearly here to stay, and it’s how the majority of people consume music now.
It’s not always practical to put a record on when you’re cooking dinner or in the shower, so having easy access to music in those everyday moments is actually a great thing. That’s why I’m not really bothered by platforms like Spotify; they make music accessible, and I think accessibility is the most important part.
It’s also not just about the big names. I have friends and family who discover new artists through streaming and then share them with me, and I think that’s a really beautiful part of it. It creates a simple and natural way for people to connect with music and discover new sounds they might never have come across otherwise.
As for Social Media, I could spend all day talking about that. But essentially I don’t like it but it’s a necessity in order to survive today – which makes me sad.
Outside of music, what are your most important influences – in terms of cinema, books, painters or anything else?
Outside of music, a lot of my influence comes from abstract art and visual design. I’ve always been drawn to artists like Joan Miró, whose work feels very free and instinctive, and Andy Gilmore, whose geometric and hypnotic patterns really resonate with the minimal aesthetic. There’s something about abstract art that connects closely with minimal music. It’s all about space, form, balance, and subtle detail rather than obvious meaning.
I find that kind of visual language really inspiring because it allows interpretation. You’re not being told exactly what to think or feel; you’re given shapes, textures, and movement, and your mind fills in the rest. That’s very similar to how I see minimal music working on a dancefloor it’s about mood and atmosphere rather than direct messages.
More generally, I’m influenced by anything that feels stripped back and intentional, whether that’s design, photography, or cinema. I’m drawn to things that create emotion through simplicity, because that same philosophy carries into how I approach music and the overall identity of YAMA.
Tell us about your production process. Where do ideas come from, and how are they then translated into pieces of music? Any pieces of software / Hardware you like to use? Can you tell us a little more about the software you have developed, Randomize?
I’ve been very intentional with the hardware I’ve bought, as each piece needs to serve a specific purpose and help me write music, especially when I’m not feeling particularly inspired. For example, I know I can turn to my Novation Peak and start creating pads, which usually leads me to write drum patterns around that sound, and from there the whole track starts to snowball.
I tend to use three different drum machines in most productions to create variety and keep the track interesting. For me, that’s a key element of minimal music retaining the listener’s interest through subtle changes, whether it’s a slight shift in a hi-hat pattern or an additional snare layer that slowly evolves over time.
The Randomise device is really an extension of that philosophy. I love weird and unexpected sounds in music not necessarily as the main element, but those small background hits that fill the space and make you take notice. I struggled to find something that could do exactly what I wanted, so I decided to design my own device. It’s now something I use in all my productions, and I love the fact that I never quite know when it’s going to trigger. I might have listened to a track 50 times, but it can still surprise me, and that sense of unpredictability keeps the music feeling alive.
Is chance occurrence as important as a planned idea?
In my eyes chance occurrence is just as important as having a planned idea. Playing and having fun in the studio can often produce some of the best music you will ever write, because creativity naturally flows when you are relaxed and open to experimentation. Music should feel enjoyable and expressive, and spontaneous moments can lead to unexpected ideas that a strict plan might not allow.
If you don’t enjoy the creative process, then it may not be the right path for you. Of course, making music can be frustrating at times and there will always be bad days in the studio, but those challenging moments are often when you learn the most and grow as an artist. In many cases, a balance between planning and chance leads to the strongest and most authentic musical outcomes.
Where would you like to see YAMA MUSIC in ten years time?
In ten years, I’d like to see YAMA Music continuing to stay true to its core, releasing music that I genuinely love and that resonates with people on the dancefloor, but also growing in a way that allows us to support more artists and more diverse sounds within that minimal/deep space.
I don’t necessarily want the label to get bigger for the sake of it; it’s more about maintaining quality and authenticity. If we can continue to create records that inspire DJs, excite listeners, and push the boundaries of minimal music while keeping that personal connection with the artists we work with, I’ll consider it a success.
Ultimately, I’d love for YAMA to remain a space where people can discover music that surprises them, makes them feel something, and reminds them why they fell in love with dance music in the first place. Even a decade from now, I want it to be about the music first, the community second, and everything else follows naturally.
Listen/ buy YAMA Music 010 at YOYAKU Record Store
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