Hanni El Khatib Talks Designs for HUF and Innovative Leisure Records

Hanni El Khatib embodies the modern creative more than anyone I know. Gone are the days when you could focus on one creative discipline and make that work for you and quite frankly, that is a positive evolution in the world of creating. Before embarking on the journey that led him to become an internationally acclaimed recording artist and record label owner, Hanni made a significant impact at HUF, where he worked alongside Keith Hufnagel as head creative. A lot of the earlier work that pushed HUF into the global brand that it is today was due to the work Hanni had done for the brand. Before you knew it though, he had packed up his bags and in an almost classic rags to riches story knocked out one of the most impressive debut albums of the past ten years. Clearly, that wasn’t enough. Soon after, he started the record label Innovative Leisure, one that champions and releases some of the best underground and forward-thinking bands these days. Skateboarding, as with so many that are touched by it, instilled a creative DIY spirit in him that is plain to see and hear, still, in his work today.

You are now onto your third record Moonlight, countless gigs, a bigger band, and a few years down the line. What have been some of the most memorable experiences in this time?

It’s really hard to say. Time becomes such a blur when your head is down and you’re just grinding. I mean, it’s cliche to say, but it really feels like yesterday that I was just passing out my homemade zine/cd and playing house parties and bars to a handful of friends. I guess those may be some of my most cherished moments, but a lot of cool and interesting things have happened over the past few years. I got to play on Letterman before he retired, I got zooted with Snoop Dogg and talked about music and life for his GGN show, and even got to record some music with GZA from Wu-Tang Clan. I guess you can say that my high school self can die happy now.

With that, what have been some of the most testing challenges and how did you deal with them?

I think navigating my own growth and artistic changes is proving to be the most challenging. Finding the balance between being creative and ambitious with the reality of where you actually at. Sometimes I’m a little too ambitious with where I want to go with my music and how I want it to be presented. For me, the visual aesthetic, live show, marketing, and merchandise go hand in hand with the music and it’s hard to pull off all these things simultaneously when you are just an indie artist. So at the end of the day it’s about being realistic with your expectations.

 Your band has grown over time from you & and a drummer in the beginning to a full fledged band. How, if at all, has that changed your writing / creative process? Do you know think in terms of the band when writing? Do they add to the process?

Growing the line-up for my live show hasn’t really changed the song-writing process for me. I’ve always let the song itself dictate the instrumentation and production. I don’t think it’s good to limit yourself in the studio for fear that you may not be able to pull it off live. I think that the live version of the song is actually the next phase in a song’s life. It’s during the live performance where a song can be explored and changed and molded into something fresh and new. I don’t believe in playing songs exactly the same as on a record during a show. Where’s the excitement for the audience in that? Also, I’ve always seen my project as a solo project with a revolving cast of people that perform live. Something that could expand or contract at any given time.

Creating a business out of music, as I understand it at least, is akin to building a brand out of design work, and specifically clothing. From your time at HUF and prior, were you able to apply certain mechanics to the music world to help you on your way and if so, what were they?

Absolutely! I view my music as just one part of the story I’m trying to tell. I learned that in order to not misrepresent my work or what I stand for, I have to be cohesive and create everything with an overall ethos or voice in mind. It is ok to experiment and stray from the path a little but it all needs to pass through this specific filter that I’ve created for myself. And if you do take your audience off the usual path for a little bit, they deserve an explanation so they can see why it makes sense. It’s very similar when designing product for companies that already have a built in story or image. You have to be aware of who they are and how far you can push things without it feeling forced or off brand.

Speaking of HUF, as I understand it you are currently working with them again- and please correct me if I am wrong, but you were the one that made the weed leaf design for them – certainly one of their most recognizable designs – what prompted your decision to do so and in what capacity are you working with HUF now?

Hahaha… yea, I’m the weed leaf guy! Who would have thought that would catch on?? Last February, Keith (HUF) hit me up to see if I’d be open to taking the lead on a couple special projects that they had coming down the pipe. After a few conversations with him it dawned on me that part of me had been missing designing apparel and being creative in that way. I agreed to work on those projects and as time went on it was apparent that I did miss it. We’ve been working regularly since then designing various projects as well as doing a bit of consulting. Its been a lot of fun and I’m excited for things to come.

In addition to the above, you also co-own the record label Innovative Leisure, through which you release your own music as well as a slew of other creative talents. What is your role there ? Is there ever a conflict being a record label owner and an artist signed to your own label? If so, what are they?

Beyond being the co-owner along side my two partners Jamie Strong and Nate Nelson, I act as art director for the label. I have a hand in whatever the label is putting out in the world visually and work really close with a few artists to create and facilitate their visual ideas. But to be honest we all wear many hats and are always working together with one main goal. So everyday is different.

What are some of the highlights in owning a record label?

Being able to release music you love and working with friends and artists you respect. It’s the best!

With that, what are the struggles / problems owning a record label in the 21st century? With all the talk over the last ten years of the financial ruin of the music industry how do you keep that machine running and what do you think makes IL a good label?

Well, the struggles and problems are endless with any business. You just have to be able to adapt and shift with the times. I mean you can just blame it on lack of record sales, but I don’t think that’s just it. People these days are just consuming music much differently. Streaming and single song culture has become more of a reality in recent years, thus making it tougher to sell physical records and full albums in general. But on the flip, there has been a huge resurgence with vinyl and those sales are up. At the end of the day we have to be creative in the ways we make money for ourselves and our artists. Licensing and other partnerships have become vital for our survival these days, but who knows the industry is ever-changing and we may have to figure out a new angle next year.

You have just finished a European tour, and your popularity specifically in France seems to rise and rise as time goes on. How do you experience Europe as a touring musician in comparison to the US / North America? What sticks out?

You never know where your music will connect with people. Touring in general is all the same really no matter where you are. It’s a constant stream of new cities, new faces and new experiences. However, during long stints in Europe I tend to get slightly homesick. Not sure what it is exactly, but I start missing things about America. It must be the comfort or something or maybe it’s the BBQ. Touring is tough at any level, but it’s all about keeping a level head and not letting it get the best of you. I try to treat every show the exact same and give the audience what they paid for, so whether its a huge festival in front of 30,000 people or a shitty dive bar in front of 30 I’m going all in.

And the typical, ending question for any interview, but what does the future hold for you, musically and artistically as well as IL?

I think i’m gonna take some time off from touring for a while to focus on some other things. The label has been keeping me busy these days and we’ve got a lot of new things popping off on the horizon. I plan on building out a full merch program for IL and for myself as HEK. This is something that I’ve wanted to do for awhile, but now I can really dedicate some time to it and see what happens. I also wanna spend more time in the studio producing and working with other bands and writing. I just wrapped up a record I produced for a new Innovative Leisure band called Wall Of Death. It should be coming out early 2016. I’m super excited about that one. But yeah, i’ve always got my plate full with something.