Perspectives: T.A.M.22
T.A.M.22 explores themes of time, atmosphere, and emotional memory through instinctive, hardware-driven productions. In this conversation, he reflects on experimentation in techno, the vision behind Futurepast, and the importance of individuality within contemporary electronic music.
Hi T.A.M.22, What was the starting point or core idea behind this EP? Hey, Thanks for having me. I recently moved back to Belgium after spending the last ten years in Berlin. During that time, I was fortunate to work in a great studio environment where I finished a significant amount of music the last two years. It was also during this period that the idea emerged to start a dedicated sub-series on Futurepast focused on my own productions under the T.A.M.22 alias. The alias itself revolves around themes of time manipulation and time travel, with each track titled as a timecode. Every EP in the series will have its own sequence of codes and distinct identity. The project will run alongside the main Futurepast catalogue, where I’ll continue releasing music from other artists as well. The starting point for this EP was the idea of capturing specific moments in time through a reduced and direct production process. I wanted the tracks to feel more like fragments or transmissions than traditional compositions — immediate snapshots of a particular atmosphere or state of mind. The overall approach was very instinctive and minimal, leaving space for interpretation, but also for interaction on the dancefloor through mixing and blending with other tracks. Your sound balances atmosphere and drive — how do you approach tension in your productions? Tension, for me, comes from layering specific frequencies and finding that exact point where they lock together and create the feeling I’m after. Once I reach that point, the rest is about staying in the moment and recording the jam quickly to preserve the energy and capture the mood as it unfolds. Is there a narrative or emotional thread connecting the tracks? Definitely. The tracks are closely connected to the mood and state of mind I’m in while recording them. In that sense, they naturally reflect the reality I’m living in at that moment. Each track captures a specific emotional state, which is then translated into its own individual code within the series. As a DJ, I’ve always been interested in exploring contrasts and shifts in energy and mood on the dancefloor. From my perspective, that’s something that has become less present in certain areas of techno today.
What production techniques or hardware shaped this release the most? For the more techno-oriented tracks, the Jomox Alpha Base was the central instrument shaping the release. Most of the tracks were built around the Alpha Base, usually combined with a single synthesizer and various effects units, all recorded through an analog mixer. Overall, it was a very hardware-focused approach, with a strong emphasis on live interaction and the character that comes from working with physical machines. There’s also an ambient piece on the EP where I experimented with a female vocal recorded years ago by a friend of mine, Giuliana Biaggio. I’ve continued exploring those vocal samples across different projects over time, but this is the first track featuring them that will actually be released. For the mixing process, I combined both analog and digital tools. Are you someone who finishes tracks quickly or obsessively revisits them? When is a track finished?
It really depends from track to track, but often the pieces I revisit the least end up being the strongest ones, and those are usually the tracks I decide to release. A lot of them come together very quickly. Sometimes the core idea, energy, and rough arrangement are created within half an hour. After that, I usually make only small adjustments the next day — maybe adding an extra percussion layer, a texture, or some background noise — but I try not to overwork them. In general, I prefer keeping tracks quite minimal. Part of that is intentional, because I like leaving space within the music for mixing. As a DJ, I love long blends and combining tracks in ways that can transform them into something new, creating different identities, tensions, or atmospheres on the dancefloor depending on what they are layered with. For me, a track is usually finished when it still evokes something a few months after I created it. If I return to it after some time and it still feels alive or emotionally convincing, then I’ll move toward the final mixdown, usually without changing the arrangement. As one of the founders of Futurepast, How would you describe the label’s identity from your perspective? Over the last two years, I’ve been running the label together with Mogus, a like-minded individual and, in my opinion, a very underrated DJ whom I had the pleasure of meeting a few years ago. Electronic music is what brought us together. Since then, he has become an important pillar of Futurepast, as well as a close friend. What I especially admire about him as a DJ is his willingness to take risks and experiment rather than staying within safe or predictable territory. More recently, Brussels-born and Berlin-based Riet joined the project as well, and together we now form a small but very passionate team. As for the label’s identity, Futurepast is rooted in a dialogue between past and future. The label was created from a deep connection to electronic music culture, but without approaching the past through nostalgia. For me, it’s about understanding the essence of what made certain music timeless and translating that spirit into something that still feels relevant and forward-thinking today. Growing up in Belgium during the late ’90s gave me access to a very rich club culture. Through years of listening, DJing, collecting records, and experiencing different scenes across Europe, I developed a strong appreciation for music that has identity, depth, and longevity. That naturally became the foundation of Futurepast. The label focuses on music that feels distinctive rather than interchangeable. We’re interested in artists who bring their own perspective and who are willing to push beyond trends or formulas. The sound can move between techno, experimental electronics, ambient, or more abstract territories, but there always needs to be a strong sense of atmosphere, character, and intention behind it. Interestingly, over the last year, I also started realizing how strongly Detroit techno has influenced the label’s overall direction, even though that wasn’t entirely a conscious intention from the beginning. It made me understand even more deeply how foundational movements continue to shape electronic music culture, often in ways you only recognize in retrospect. At its core, Futurepast is about connecting different eras of electronic music culture while remaining open to new ideas — respecting the past, staying present, and still looking ahead.
How important are smaller underground imprints like Futurepast in today’s ecosystem? Smaller underground imprints are vital because they create space for individuality, experimentation, and long-term artistic vision. In an ecosystem increasingly driven by speed and visibility, independent labels can take risks and focus on music with identity rather than simply following trends. At Futurepast, we see the label as a platform for distinctive voices — music that respects the roots of electronic music while still feeling fresh and forward-looking. Many important movements began in small, independent scenes, and I believe that role remains just as important today. Do you think techno has lost some of its experimental edge in recent years? Yes, I think the meaning of “techno” has shifted quite a lot over the years. Today, many things that fit comfortably within more mainstream structures are simply labeled as techno, while music that pushes boundaries or sounds slightly unconventional is often separated into categories like “experimental techno.” But if you look back to the ’90s, experimentation was actually at the core of techno culture. Many artists were constantly exploring new forms of sound design, unusual arrangements, broken structures, or entirely new atmospheres. Someone like Christian Vogel is a good example. Back then, his music was simply considered part of techno’s wider evolution. If similar music were released today, it would probably immediately be categorized as experimental. For me, experimentation is essential because it’s how music evolves. Without artists taking risks and challenging existing formulas, scenes become repetitive very quickly. The most exciting moments in electronic music history usually came from people trying something unfamiliar rather than repeating what already worked. That doesn’t mean everything needs to sound difficult or abstract, but there should always be room for curiosity, innovation, and individuality. For me, that exploratory spirit has always been one of the most important aspects of techno. What influences outside of techno inspire your work lately? Things like photography have always influenced me a lot — not only through cameras, but also through the images we naturally absorb with our own eyes. Sometimes simply walking through nature can affect the way I think about atmosphere, emotion, space, or repetition in sound. Visiting galleries can have a similar effect as well. The general state of the world also inevitably influences me: the social climate, the pace of modern life, environmental issues, and collective moods. Even something as simple as the feeling of a particular day — the light, the weather, or an unexpected conversation — can shape ideas in subtle ways. Technology is also a major influence, especially the way we interact with instruments and machines. The design of synthesizers, drum machines, and studio equipment — whether analog or digital — can completely shape the direction and character of music. Sometimes a limitation, a workflow, or the unexpected behavior of a machine can inspire ideas you would never arrive at intentionally. I think artists are constantly absorbing information from their surroundings, whether they realize it or not. Music becomes a reflection of all these impressions filtered through personal experience. In a way, the timecode concept behind T.A.M.22 also connects to this idea. Every track captures a specific moment, feeling, or state of mind — almost like sonic snapshots existing somewhere between memory, present reality, and imagination. What’s next? More music on the horizon? For sure. As mentioned earlier, this release marks the beginning of a new series focused on my own productions under the T.A.M.22 alias. I already have material prepared for several more EPs, and the idea is to continue developing the series gradually, most likely with one release per year. At the same time, Futurepast will continue releasing music from other artists as well. There are a number of very promising projects currently in development from producers whose work I strongly believe in, so there is definitely a lot more music on the horizon coming from different directions and perspectives. Beyond the releases themselves, Futurepast is also continuing to grow through mixes, radio shows, and events. We regularly curate mixes and host radio shows on Kiosk Radio, which has become an important platform for sharing music and connecting with a wider community. After the summer, we’re planning to organize more events again and further expand the label’s activities beyond simply releasing records. Next year will also mark 10 years of Futurepast, which feels like an important milestone. Looking back, it’s rewarding to see how the label has evolved organically over time while still staying true to its original spirit and vision. The goal remains to keep building the label carefully, release by release, while maintaining a strong identity, openness, and sense of exploration throughout the catalogue. Thank you for this inspring talk Davy, it was a pleasure! Photo Credits: Viktor Van Hoof
