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taminoarticles · 2 years

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— Tamino for Milk.xyz, 2019 (x) (x)

Exploring Intentionality With Tamino

For this Belgian-born musician, every word counts.

10.1.2019 By Ella Jayes Photos by Dana Boulos

Tamino’s first New York show is sold out, and the crowd is enraptured. Throughout the performance, the audience seeks to establish a connection with the towering 22-year-old dressed in black. At every bout of silence, they ask questions, they request songs. “Play ‘Crocodile’!” one fan screams, and though he’s about to start another piece, Tamino switches chords and bends to our will. “I didn’t know that worked,” a surprised fan replies.

When he’s not touring with Radiohead’s Colin Greenwood, playing with the Nagham Zirkayat Orchestra or being personally requested to perform with Lana Del Rey, it’s just Tamino-Amir Moharam Fouad and his instruments.

When asked which guitar is his favorite, he answers like a proud father, “I can’t pick,” as he slings a black electric over his shoulder and secretly whispers “this one,” before heading into another song. Skipping octaves, his voice is like velvet, passing through Arabic vocal and tonal inflections.

Music is in the blood for the Belgian-born artist; with a name inspired by the prince of Mozart’s “The Magic Flute,” and a revered Egyptian grandfather nicknamed “The Sound of the Nile,” Tamino was born into music.

Before his show at National Sawdust and as he gears up to release the deluxe version of his debut album Amir [out October 18th via Arts & Crafts], we met Tamino at his hotel in Brooklyn. Just a day before the passing of Daniel Johnston, we spoke about the importance of authenticity in songwriting. We explored Tamino’s lyrical journey and the meaning behind his newest singles. It’s striking how thoughtful and specific he is with his words – in both his work and his spoken language.

So you have your show in New York tomorrow, you’ll be touring in the US and Canada, then you go into the Middle East, North Africa, and then the EU — you were also on tour at the beginning of the year as well. How are you faring with being on the road so much?

I’m very lucky because I have an amazing crew: my sound guy, my tour manager, if we’re with the band, we have a slightly bigger crew, we have two musicians and a backliner, and light guy [sic]. They’re all good guys; without them, I wouldn’t be able to bear it, I think.

I like being home; I like to be alone, and I like to write and work on music. So being away from that is sometimes hard. The good thing, and also, the kind of weird thing about playing shows is that you’re kind of dedicating your life to that: being on the road. You travel the whole day and then in the evening, you have your show. It all comes down to that. You have to make it work because otherwise it’s been for nothing, you know? You kind of push all of your energy into that, and you receive a lot of energy back from the crowd, which is what keeps you going, I guess; that interaction, the energy.

How do you recalibrate before getting on stage? How do you get in the correct mindset?

I do like to warm up my voice. I think that’s something that’s important. It’s good to get into the right mindset, and also to just get my body ready. Apart from that, I think am [sic] somebody who does well with routine, but right now I don’t really have one. When we tour, it’s not like we have the same production each evening. It’s like, “Oh, now we’re playing for 200 people...Oh, now we’re playing for thousands of people.” It’s always different from each other. Also backstage, it’s always different, so it’s difficult to maintain a routine. But I think maybe in the future, meditation would be nice, or just something to get me in the moment.

I must say I’m doing better and better on stage, in terms of being there, and not being stuck in thought. I did have trouble with that in the beginning; sometimes I was just thinking about stuff.

Like what?

Stupid stuff like tasks I had to do; nothing that has anything to do with the show. Hesitations like, “I wonder if the crowd is liking this or..” just stuff you shouldn’t be thinking about while you’re performing.

Lately, when I’m on the stage, I really feel like it’s not that much of a problem anymore. I can just let go. Those are the most beautiful moments, when you are really led by your own music; you just feel that the crowd is reacting to that, and I really like that; it’s something I’m always after. It’s kind of a transcendence feeling. If it works, it’s better than meditation, for me. My whole evening is different after that.

It makes sense, you’re fully in the present.

One of the main aspects of music is connecting with other people. Is there a specific crowd that really resonated with you? Or a specific fan, or show? I’m sure that they’re all great, but if there’s, one that comes to mind…

They’re all great, yeah, that’s the diplomatic answer. It depends, probably some cultures are more keen to show emotion.

What differences have you noticed between the crowds?

In Italy, they are very enthusiastic, but they are very respectful at the same time. It’s very special, they will be quiet for the whole song, and then they will want to shout, and they will throw roses at you, or whatever. It’s very romantic, the French are like that as well. In America, I feel actually very welcomed. It’s very inviting here, I don’t know how else to put it. I have the feeling, maybe I’m wrong about that, but as a European, it is like the new world, you know? And so many people move here. Of course, it was all a very long time ago, but people are still moving here. There are so many cultures coming together, and that’s why the crowd is very receiving. They’re open for other cultures; let’s say, it’s not an island.

I haven’t had many bad experiences, to be honest. I think I’ve been very lucky so far. Maybe it’s because I’ve never had a worldwide hit song or something like that. I think that’s the moment where you get crowds that are only there for that one song. And so far, I think I’ve always had crowds who have really invested in music. They’re there with a purpose, they want to experience something. Until I have this hit song, I don’t know if I’ll ever have one...I don’t know if I ever want one, to be honest, because of that reason...but until that time comes, I think I will always have good experiences.

What’s the first thing that you want to do when you’re done touring in December?

I’m moving to a new house. I feel like I just want to decorate the place. It’s the first time I will be really designing what it looks like. It’s in this very multicultural area, a lot of Arabic families live there, but lately, a lot of other Belgian families have been moving there. It’s kind of becoming this nice clash of cultures, and I like that. It feels like it’s a vibrant place.

Antwerp is very, very small. You can cross one corner, and then you are in a totally different area. It’s this very small area of a lot of cultures coming together and I really like that. I would say some parts are too gentrified, which wouldn’t have been a good place to go and live for me. It doesn’t really inspire, it’s not a vibrant place. It kind of feels boring.

In Belgium, lately, because it’s such a small country, it’s not difficult to become known, so they recognize me, or whatever. It’s not like they bother me, but I prefer to…

Just go about your day.

Yeah.

What are your inspirations for your new place? What do you like?

So many things, I know this designer he’s called Jan Jan Van Essche. He is really, really cool Of course his clothes, I love; I wear a lot of what he does. But the way he decorated his shop, and his office where he works and where he draws, it’s so beautiful. It’s a mix of, say a lot of different ethnical inspirations coming together with kind of a roughness, a bit more industrial. But very humble. It’s a very humble appearance. It’s not too over the top.

You have two new songs, “Crocodile” and “Every Pore,” but only the former is out at the moment...do you want to talk about them?

The second one’s out next month. They’re both quite old songs. So when I chose to record for my album, I had a lot of songs, and I chose these possible candidates for the record. Those two made it to the last 15-16 songs I would say. But then, in the end, they fell out. When I listened to them again, and sometimes I played them live, I always had a good reaction on the songs.

I really like them, I just think they’re true B-Sides; they are kind of odd songs in comparison to the other ones. I really felt like I wanted to release them anyway, so with the deluxe version, I felt that was a really good opportunity. With the song we just released, “Crocodile,” for me it was very weird listening back to the song. I wrote it so many years ago, and it kind of perfectly talks about the situation I’m in right now, not literally. You have this crocodile, and he looks at the songbird and offers the metaphor. Crocodile could be the person that has yet to be awakened, and the songbird is what he could be.

I guess any artist goes through that; you see a version of yourself, you want to strive forward, but you also know everything that comes with that because of history, because of stories you’ve heard so many times. And you know that there is a truth in those stories because they happen over, and over, and over, and it can happen to you as well.

I read in another interview that you said “Someone can play three chords or maybe even one chord and move me. It’s because of the person that plays it, and how they play it.” When’s the last time that happened to you?

Let me check my Spotify because I always forget whatever I’ve been listening to lately.

Okay, my daily mixes are the singer- songwriters from America, the new ones, the ones who are still alive. Then, the ones who are a bit older, or dead. And then Arabic music. The more Alternative stuff, some Hip-Hop, all kinds of stuff.

Do you know The Disintegration Loops by William Basinski? It’s crazy. So he has tapes of existing music, and he manipulates them. But this one was broken, and it just kept on looping, and every time it looped, it got more broken. During this session, 9/11 happened. So he was looking, out and the album cover is a photo from where he was working.

It’s the same thing over and over, but it moves me like crazy. Do you know Daniel Johnston? I think what’s so cool is that he’s not a virtuoso, but he moves me more than 99% of all virtuosos.

He’s authentic.

Yeah, he’s authentic...how do you say it? We say, he has (literally translated) “saying power,” power in what he says... His songs are beautiful, the lyrics are heartbreaking…

What are you reading right now?

I just started A Brave New World which is cool. I think he was really young when he wrote it, it’s just insane to realize he wrote it then. It’s so accurate. If there were people who wanted to create this Utopian society where everything is perfect, it would be like that. I haven’t read 1984 though which is similar I think.

Your writing is very rooted in emotion. I’m assuming it could be cathartic to perform, but I’m wondering if there’s ever been a moment where it felt like too much.

I’m not sure. I don’t think so, actually. Maybe like once or twice, it’s usually when you just finished writing a song, and you perform it for the first time, that’s usually a very special moment. I don’t really feel like it’s ever too much though, that I can’t play it.

I feel like there is also a certain sense of letting go once you’ve performed it. Once you’re ready to release it to the world, you’ve almost come to terms with whatever you were writing about.

Absolutely, that’s true. You realize it’s not yours anymore. Have you listened to Mount Eerie’s record, A Crow Looked at Me? He had a child with his wife, and then his wife died. It’s really, really terrible. That record is really beautiful. I’ve never seen a concert of his, but he did this concert in the Netherlands once in a church, and that was so emotional for everyone there, apparently. If I listen to that record, I’m always wondering, “Whoa, how does he do it?”

You’ve previously discussed the idea of letting go of performing the exact recording of your work, and moving more towards letting the music evolve through playing it. Has there ever been a time when you’ve wanted to change a lyric or something?

Of course, I mean, it’s actually funny because in the foreword of Brave New World, Aldous Huxley is talking about looking back at old work, and you, of course, want to change stuff, but that it’s also beautiful in a way, that you cannot.

And it’s this moment in time, where you were that person back then, and you were that kind of artist back then. I think some of the lyrics on my first record are very naive and very bold, in a way. Naive is kind of the more negative way of looking at it, and bold is the more positive way of looking at them.

Probably, I’m less naive in my songwriting right now, but I’m also less bold. That’s something that I feel right now, the older you get, the more you think; you have more in your archive, you overthink. But, I have no trouble performing those older songs. Even if I’m not very proud of certain lyrics, I still feel totally behind them. I’m still comfortable representing those songs. I stand behind them.

Because your words are so intentional, when you’re actually writing them, is there a revision process or do you just kind of get tapped into something and write?

I hope to just write, and then stuff happens. The lyrics, I go over and over it, until they are just right. So far I’ve written more out of music. So the music came first, and then the lyrics. I’ve done it the other way around as well, but I feel like those initial melodies and structures, they’re always the best when they just come out of this flow.

It’s like a gift, you just have to be open to receive it. I went to see Nick Cave, and he said such a beautiful thing. He said there’s no such thing as writer’s block; too many people think that there’s something inside of them that they need to get out, but it’s actually something that’s out there that needs to go through them.

If you are open for that, so if you try each day, then eventually those things will flow through you. Or maybe you’re in a certain moment in your life, where it’s not really going through you.

Last question – if music did not exist what would you do?

I wouldn’t know. I did acting and theatre when I was a kid. I really liked that, it was my first passion. I like writing as well. As long as I have a creative outlet, then it’s fine.

CREDITS

PHOTOGRAPHER: Dana Boulos

PRODUCER + EDITORIAL DIRECTOR: Ella Jayes

HAIR + MAKEUP: Heather Rose Harris PHOTO ASSISTANT: Henry Fey

Special Thanks to Studio Blackheart, Nicole Prokes, + Chris Swainston.

#tamino #tamino amir #milk.xyz #milk group #article #interview #english #2019 #with photoshoot #original text #NOTE: the original website has been taken over by some casino group. the first link links to the wayback machine page for the #original url because i was kinda scared that the actual link would give you like. a virus or something idk there's nothing there anyway #the second link is for the pdf of this article sent to me by tamino archive #thank you sm to tamino archive for saving this and sending it to me <3 #screenshot from vk #fr thought this was straight up lost media

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moongothic · 6 months

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It is interesting though 'cause, since we have no fucking True Clue what the hell Crocodile's actual real End Goal with Cross Guild is right now (does he want to get One Piece and fight the Strawhats+Shanks, does he want to get Pluton from Wano (and/)or does he want to destroy the World Government?? We don't know), that we just have a fuck ton of theories on what could happen, but no way to really tell what the actual direction this entire plot thread is going to be

And one I've seen a lot of people suggest was Cross Guild recruiting more of the former (/OG) Shichibukai into their ranks

And I just find that idea so fucking interesting

Because this is where one needs to remember that Oda based the OG Shichibukai on the Seven Heroes from Romancing SaGa 2. The Seven Heroes were a legendary group who once in the past saved the world from a great evil (before disappearing and turning into an evil for the game's protags to defeat). Just reading the descriptions you can see how each of the OG Shichibukai match up to one of the heroes respectively. And the inspo would be fine and dandy by itself, like just some fun trivia about what inspired Oda. But the Seven Heroes were specifically created and lead by Wagnas, with Noel as his right-hand. Wagnas happens to be the character Crocodile matches up with, and Mihawk just happens to match up with Noel. And here we have Crocodile starting a new organization with Mihawk by his side, with unknown true goals. And we do have that one World Government that needs to get overthrown so the world can be "saved". So like.

Suddenly, the idea that Cross Guild could recruit some of the other former Shichibukai (to maybe help take down the World Government?) doesn't sound too out-landish at all

Especially because Moria alone is already like an actual contender for someone who could maybe join Cross Guild. Like, assuming he's alive and made it out of Fullalead with Perona. 'Cause with Absalom dead and Hogback gone with the wind, Moria should have like nothing else left but himself and Perona. And while knowing Moria he's going to be Very Happy about reuniting with Perona, like... where's he gonna go? What's he gonna do if the two escaped Fullalead? But because Perona and Mihawk already know each other, Perona could very easily become a bridge to getting Moria with CG, especially if he's still wounded etc from the escape, Perona would want her boss' to survive and she'd trust Mihawk to help probably. And god knows, if Blackbeard tried or even succeeded at stealing Moria's Fruit, the man could have some legit good intel on Blackbeard (and how he steals powers) that he could then share with CG, something Crocodile could appreciate. Also, if Crocodile and Mihawk want to ensure the Marines are too scared to come after them, getting Moria in their ranks would help with that.

Then there's Kuma. And. Well. Assuming Kuma doesn't kick the bucket in the next few chapters. If Kuma is still somehow alive and his soul/memories can be put into a body (some people have been suggesting his memories could be implanted maybe into a Pacifista or that giant robot on Egghead or maybe even his Seraphim, or maybe just memories could be returned back into his original body), and if he'll still have the ability to near-instantly travel across the planet then I'm putting my money on him returning to the Revolutionaries to be honest. But if he loses that ability, I don't think he's going to be sticking with the Strawhats to be honest. That said, he'll still need somewhere to go (with Bonney?), and with the rest of the Revs on the other side of the Grand Line... Cross Guild could, potentially, be the nearest, safest place for him, if for no other reason than the other former Shichibukai might be his safest bet right now. Especially if Crocodile ever did have any involvement with the Revolutionaries. But indeed, this assumes Kuma isn't Turbo Perma-Dead Forever, which remains to be seen.

I know a lot of people love Doflamingo and would love to see him back. Personally I want him to stay in jail, where he deserves to be. <3 Also I don't think Crocodile would ever want Doflamingo working for him, let alone go out of his way to travel to Paradise to let him out (though if they did, they could also release Weevil while at it, since he's also stuck in Impel Down) (But honestly, unless someone else goes to break Weevil out and Doflamingo just escapes while he's at it, don't think he's getting out)

Quick honorable mention to Law, since he is also a Former Shichibukai. His crew got nuked by Blackbeard but I doubt he'd join Crocodile and Mihawk for any reason, especially if he's still in the race for One Piece (assuming Cross Guild isn't) (Like Buggy is but Buggy might skedaddle for all we know)

But with the Shichibukai, this just leaves us with Hancock.

Thing is, last we saw her she was still in Paradise, wanting to reunite with Luffy. It is entirely plausible she could (or may already have) set out for the New World if she feels like she has to leave Amazon Lily to protect her home-- which she might have to, considdering without her warlord status the Government has gone after her. But indeed, if Hancock is on the run and heading to the New World, surely she'd want to find Luffy. So why would she ever join Cross Guild? She doesn't like men (aside from Luffy), so surely she wouldn't trust that disaster crew with a clown for a mascot. But again. This is where "what the fuck is Crocodile's end goal" comes in again. Because if he wants to destroy the World Government and wreck the Nobles' out of orbit... Well. I don't think convincing Hancock to go back to the place where she was kept in slavery for years would be easy. But also. Perhaps, just perhaps, she could be persuaded into committing some delicious revenge under the right circumstances (whatever that might be).

IDK man, there's potential here, things could get so interesting with Cross Guild and whatever the fuck Crocodile is planning (vs how Buggy's mutiny rolls out)

It is kind of funny though, how like the best case scenario for Cross Guild Shichibukai Reunion would be like. Kuma and his daughter. Moria, Mihawk and their collective daughter. Crocodad and his sharp boyfriend. And Luffy's wannabe fiancée. (The clown is optional)

#Moon posting #Cross Guild #OP Spoilers #OP Meta #I do want to note though that appearently amongst the scrapped ideas for Film RED one was about...#...A rescue of Bon-chan from a NEW (flying!) Impel Down.#While another scrapped idea from Oda was about Crocodile and Doflamingo appearing in the Film #(Not sure the ideas were connected but since Mingo is supposed to be in prison Croc pulling a Blackbeard doesn't sound too odd)#(And yeah if someone was breaking into ID to rescue Bon-chan then Croc sneaking in to say 'hi' to Mingo at the same time seems viable)#Wherever these ideas would've gone we won't know but since these would've been movie-exclusive stories #(And Oda specifically doesn't want the movies to have anything plot-relevant happen in them)#I doubt Doflamingo is getting out of Impel Down for a Shichibukai Reunion (if Film RED was going to let him out)#Waited long and hard if I wanted to wait until Chapter 1099 and/or 1100 dropped but no #If the part about Kuma ages like milk then so be it #Yeet #Get outta my drafts #Also of course there's Jinbei but our man ain't leaving the Strawhats lmao #Sad to think though that we never got to see the OG Shichibukai fight together as a group (and probs never will)#Since even in Marineford it was just 5 of the OG and the two others kinda doing their own thing

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