hid away, your longing will only grow

Tamino returns to play in Italy: “The warmer the countries are, the warmer the audience"

The singer will perform at the Rocca Malatestiana in Cesena on July 4th and at the Spazio 211 in Turin on July 5th. "In Italy I always like to play," he says. But "in reality it scares me to meet too many people.” A true hero of introverts.

By Pier Andrea Canei June 15, 2023

The soundcheck is over, Alcatraz sold out, a thousand Milanese waiting to see the star of the evening: the Belgian-Egyptian singer Tamino. He relaxes behind the scenes, drinks green (tea) and wears black (Armani): like a 26-year-old prince of darkness. He has gentle manners, and a voice that vibrates on a broad spectrum. From the dark depths (the school is the one that goes from Leonard Cohen and Jacques Brel to Jeff Buckley and the alt-rock genre called “shoegaze”: emo tones, monochord guitars) to an angelic falsetto.

Soon, Tamino will go out there on stage and, without doing ballets or stepping on flowers, almost motionless except for when he holds his oud (a lute of the Arab tradition), he will attract attention. He is hieratic, with the charisma of a crusader of introverts, quiet people, and young romantic heroes; what allowed him to create a following that goes from [sic], (Colin Redwood [sic], former bassist of Radiohead, left Thom Yorke's group to follow him through studios and tours) up to the Arab world, from which it takes up sounds and instruments.

Tamino: Style's interview

Amir, the title of your first album and your middle name, means "prince" in Arabic. Were you raised as a little prince?

Well, I don't think so. Princes lead a very controlled life, lots of rules, discipline. I had a free childhood.

For the idea of calling you Tamino, like the young prince in Mozart's Magic Flute, we should thank your mother, Eva (de Pauw, anthropologist, hobby musician, passionate about cultures). What was it like growing up in Belgium?

Inspiring in many ways: lots of good art, music, art movements. From the Surrealism of René Magritte, to the music of Tom Barman's dEUS, a band that has opened many doors to the alternative scene. Then there are the negative sides in the social culture: in Belgium we tend not to value the potential of others... We are made like this, we like to see ourselves laying low, leveling ourselves up.

You realized this as soon as you finished compulsory school and left to study music in Holland.

It was an enlightening and difficult experience. From cool Antwerp designers to Amsterdam street style. Two hours by train and you land in another world. I wanted to shake off the provincial part of Belgium.

Habibi: I needed love

And your first hit song was born right in Amsterdam, in 2017: Habibi ... an Arabic and universal word of love.

You can say it to your loved one, to good friends, but also to a waiter: “Come here habibi, bring me a coffee”... Well, during the first days in Amsterdam I was depressed, very lonely, it was difficult to find human ties. I was looking for warmth, love: that piece came from there.

Of that vagueness that generates universality...

I think back to a title from the Talking Heads: Stop making sense. When you write lyrics for a song, you don't have to chase a precise meaning. Better ask yourself if your words convey the right feelings.

Typically Tamino: the yearning, the nostalgia. Songs like Indigo night: nocturnal, brooding, even melancholy. You recognise yourself in it?

I certainly tend to ruminate on things a lot. Too much...

An app to free yourself from the ego

And how do you free yourself from it?

Meditation helps. I also use a specific app, Waking Up: Beyond Meditation. Ten minutes a day is enough. It helps me to free myself from the ego, to feel myself a witness of thought, of consciousness. Simply necessary. More than diet or physical training.

Sahar, the title of the second and most recent album, means "at the crack of dawn."

For me it is already part of the past: the last words I sing are “before I step into darker days”...

That is: “Prima d'inoltrarmi in giorni più oscuri.”

I mean: before facing new torments, new struggles. What helps you grow is discomfort. That's the challenge. Never be afraid to step into the unknown.

Out of the comfort zone...

I like spending some time in New York. I stay out of my own comfort zone, it's not comfortable for me. And doing so inspires me.

Lone sailor

In the video for Sunflower, a duet with the singer Angèle, you have the air of a romantic hero. Do you want to act?

In that video I enjoyed interpreting, even without lines, this figure of the lonely sailor. This was an idea from the director. I've only done a little theater and at most a few sailing trips with friends.

Would you be a testimonial for a perfume?

Well, yes, under the right conditions... For example, a prestigious operation like the Bleu de Chanel campaign with Gaspard Ulliel, with that spot directed by Martin Scorsese.

A spot that stylises the clichés of a rock star life: glamorous places, flashes, meetings with crazy people...

In reality it scares me to meet too many people. I'm a very lonely guy. Even though I’m finding it easier and easier for me to make connections lately, I steer clear of glam dinners or events.

Then you spends the whole summer on the road

I have fun at festivals. My favourite is Into the Great Wide Open, on the island of Vlieland, Holland: 10,000 people, zero cars, music, love and kindness.

Your summer also includes two Italian stages.

I always like to play in Italy. The warmer the countries, the warmer the audience.

I live in Türkiye

Who knows in the Middle East, or in Africa.

We do the biggest lives in Turkey: crazy crowds. And Egypt is like coming home: you feel that for the people it is more than just a concert.

Your surname is famous in Egypt. Your grandfather Muharram Fouad was a musical star, your father started out as a performer.

It's like an Egyptian dynasty of music. A fun fact about me being a huge Lord of the Rings fan is that I've always felt like Aragorn, the legitimate heir to the Elven throne, who travels incognito. Nobody ever knows who he is. I felt like this growing up in Belgium. It was never talked about, nor was there much money, and that side of the family has only emerged now that I'm better known.

Who among the main names would you bring next to you at the festival of your dreams?

I don't even know if I would put myself among the top names... I'd like Anouar Brahem, Tunisian, master of the oud. And then something electronic, maybe the Aphex Twins. And I dream of working with Massive Attack.

Many festivals. But never a festive song?

I should write one first. But generally gloomy, tenebrous things come out to me.

Let's say you sing one happy song and save the world; which one do you choose?

I don't know if a happy song could save the world. Lou Reed's Walk on the Wild Side?

The new sweetheart of Flanders

ANTWERP BY KIM NOACH

The 20-year-old singer-songwriter Tamino is conquering musical hearts in his homeland Belgium in record time. Performances at Rock Werchter, Pukkelpop and his first EP rocket to the top position of iTunes. The talent can be heard on Sunday at Mama's Pride in Geleen.

My dear, Tamino sings to you in his high falsetto, grant me one last dance…Dear, please, I'm on fire…With these words singer-songwriter Tamino sings in his debut single Habibi (Arabic for sweetheart) directly to the hearts of music lovers in Belgium.

With the song, Tamino's musical career took off in record time last year: sold-out performances in the small hall of pop temple AB Brussels, a prestigious Belgian pop award lands on his mantelpiece and this festival season, performances at Rock Werchter and Pukkelpop will follow, among others. The Netherlands is also about to be conquered. But judge for yourself on Sunday with a first introduction at Mama's Pride in Geleen. The success of the young singer certainly has to do with his special voice. Seemingly effortlessly, he switches from a deep crooner's moan to a towering falsetto. This vocal cord acrobatics earned him the predicate 'the Belgian Jeff Buckley'. But comparisons with Elliott Smith and Radiohead singer Thom Yorke have also been made by pop connoisseurs. Big shoes to fill for an up-and-coming talent of just 20 years old. Tamino remains calm about it. Having just finished a mini-concert in Antwerp, he says - in a Flemish modest way - that he is especially flattered when fans compare him to big names in the music business. But in the end he wants to be Tamino above all. And just sing his songs. What does the public do with that? Well, who is he to say anything about that?

To melt His songs are beautiful listening songs with guitar that Tamino (partly) composed from his Amsterdam room last year. He follows a course at the conservatory in the capital. He has temporarily stopped his studies in order to be able to attend all performances and interviews. “Very strange,” he says when it comes to his ever-growing popularity. “I don't fully understand it yet. It would be nice if I could live off my music at some point. That is not self-evident for every artist.”

To melt With his dark curls, full eyelashes, 'pirate' earring and shy smile, singer-songwriter Tamino is sure to melt many hearts. His looks are the result of his Belgian mother and his Egyptian father. His Belgian mother named her son after Prince Tamino from Mozart's opera Die Zauberflöte.

It is the Arabic roots that also influence him musically, as can be heard in some melody lines on his nameless EP. And at home he not only plucks the guitar, but also the oud, the Arabic lute, and listens to Egyptian music. This in combination with Western music by Thom Yorke, Eels, but also Soundgarden and the Belgian noise band Steak Number Eight. What does he hope for next Sunday? "Come on..." There's a pause.

SURRENDERING TO WHATEVER'S HAPPENING AT THE MOMENT: TAMINO

WORDS BY GRACE POWELL PHOTOGRAPHY BY JORRE JANSSENS

Belgian-Egyptian musician TAMINO-AMIR MOHARAM FOUAD (aka Tamino) is the singer-songwriter pulling on our heartstrings. Grandson to renowned movie star MUHARRAM FOUAD, Tamino has had stardom in his veins from the very beginning. Trained at the AMSTERDAM ROYAL CONSERVATORY, and having seen his first glimpse of fame with the 2017 release, Habibi, the artist has since been heard on stages around Europe. It was the release of his 2018 album, Amir, which made the world stop, listen and reflect as he hypnotised us all with tracks such as Indigo Night and goddess of nature, Persephone. After what felt like a prolonged hiatus — not so much as a cheeky Insta’ story — this year Tamino is back with his sophomore album, Sahar. Glamcult spoke with Tamino after the release of his first album, so why not make a tradition of it? From the flawless sounds of the Oud, the sight of a flamingo stuck in the mud, to his early days studying classical piano — we cover a lot from the backseat of a car en route to his Glamcult shoot in the depths of BELGIUM.

Gc: Hi Tamino. How’s it going? 

T: I’m good thank you — ready for my Glamcult shoot, so you know all about my day! The location is crazy, I didn’t even know this existed in Belgium. 

Gc: Yes, I’m the anonymous producer of your day, ha-ha. It’s going to be great. To start, could you tell us a bit about your musical beginnings?

T: Of course. So, if I go to the very beginning, I started with piano when I was around ten or eleven years old. It was my mum, actually, who proposed it, as she saw that I had a fascination for music. My mum also played classical piano, so it was a logical move for both myself and her. However, I didn’t last very long…

Gc: Logical — but less sustainable?

T: Honestly, I stopped because I didn’t have the patience to study the classical pieces to perfection. Because of this, I then decided to take a break from music for about a year before I started going back to the piano again. This time, I returned with a different mindset and I started to play freely; choosing my own chords and writing my own songs. This began when I was around fourteen.

Gc: So, no emo phase?

T: I did play in a couple of bands before finally performing solo at around seventeen.

Gc: I like this idea of beginning rigidly, and within that rigidity finding your draw to fluidity. Do you still feel like you need this freedom in music today as you did as a child?

T: I always pursue freedom in sound. Even though I love classical music (both listening to it and going to concerts) — and of course, I have admiration for those who are able to learn a piece to perfection. However, it just wasn’t for me as it was always someone else’s latest.

Gc: You recently released the single (and video) Fascination, one of the first tracks from your latest album, Sahar. What inspired this song?

T: Like most of my songs, it all began with noodling on the guitar. I usually begin by humming a melody before finding the words. For this song, however, the words came with the melody. There is this one specific anecdote within this song — “I didn’t cry for that flamingo stuck in the salt. Didn’t care for it at all, While you couldn’t hold your tears, Your fascination’s always fascinated me.” This came from watching BBC Planet with my significant other. It was about how our different reactions to the same scene caused inspiration.

Gc: So, it can really come from anywhere… Any other unusual inspiration points?

T: It’s so difficult to pinpoint! Often it’s less specific than this case. That’s the beautiful thing about songwriting. Often you don’t know how it happens — which is strange in itself. Even though you can sharpen your tools through practice, you still never know what’s going to happen.

Gc: It’s a never-ending journey…

T: Exactly. I feel like when it comes to songwriting, it’s very hard to become a master of your craft.

Gc: However, sonically — do certain genres inspire you? For example, there are many clear Arabic references, alongside folk music and jazz within your work.

T: The influences are for sure there. I love Arabic music.

Gc: Has living in Antwerp influenced your sound at all?

T: It has of course influenced me; however, I wouldn’t know precisely how. Antwerp is a cool place, but I think it’s time to spend some time elsewhere. Although, I’m going on tour soon — so it’s out of the question at the moment. 

Gc: A lot of artists I speak to describe the act of music creation as occuring subconsciously. Do you have the same experience?

T: Yes and no. It’s still me writing, but I can relate to this.

Gc: Your first release from the album, the aptly named The First Disciple, broke your online silence. Why did you pick this song as your reintroduction?

T: This song sits at the heart of the album… It’s also the longest song on the album (a side note, but still cool). Sonically, The First Disciple represents some new sounds I experimented with on this album. The combination of the nylon-string classical guitar with the nylon-string oud was super important to me. Lyrically, this song is also improtant to me.

Gc: Throughout the whole album your sound is far more complex than your previous work. Did this change in sound bring up any nervousness?

T: No, not really. I would have only felt nervous if I wasn't happy with the album.

Gc: That's the truly worst-case scenario.

T: But I'm super happy with the album, and stand fully behind it so I don’t have nerves.

Gc: As you should be. Before the release, you had a social media blackout — why?

T: I feel like when I'm not releasing new music, I have nothing to say. Social media is a HUGE distraction. Those apps are designed for you to become addicted. | know myself; if it's on my phone I will look at it at least three times a day. It was extremely liberating to not have Instagram on my phone for two years, it allowed me to be bored. Boredom is very important for the creative process,

which was the main reason why I didn't have it on my phone.

Gc: It’s kind of insane how today boredom has to be sought after. It’s a hard road to take.

T: It's true. You have to choose boredom, instead of just letting it happen the way it would in the past. lt's a conscious decision to not go on your phone, scroll through Instagram and so forth. We need to let things be as they are.

Gc: You're going on tour. How are you feeling about that?

T: On tour, you're everywhere and nowhere at the same time. It's not real life. However, playing live feels special. It's cliché, but I love playing for people that appreciate your music and the fact that you're sharing something with a group. Sometimes it feels like a transfer of energy. This transfer is healing.

Gc: Music certainly has healing properties. Presumable creating, performing and so forth is your safe space?

T: Performing to such a huge amount of people, you all feel open. You're all surrendering to whatever's happening in the moment. It connects to what we were saying earlier about

distractions. When performing, these distractions are not there, I'm fully in the moment. This moment is then something you can share with so many people. In this space there's room for emotion, there's room for everything to just exist. It feels both healing and freeing. It's the best high there is.

Gc: We're so excited about the launch of Sahar. What do you hope for your audience to feel from the album?

T: Honestly, whatever they want. I really have no say in that.

Gc: Do you feel a separation from your work once it’s released? Like it’s no longer yours?

T: A bit, I see the music as just as much mine as I do the listeners. Of course, I have my interpretations, thoughts, beliefs. I also have hopes for the listener's ability to read into the lyrics or hear about the songs. But in the end, | have no say.

Gc: And finally (and potentially, most importantly) what have you taken away from the album?

The evolution of the music industry is always in perpetual motion and social platforms are having more impact in addition to streaming. In 2021, one of the world's bestselling singers, Adele revealed the real reason for refusing to make music for TikTok. She explained that if labels are pushing artists to make music for 14-year-olds, who will do the music for her peers? The way we consume music now is based on algorithms and trends but yes, what about being more organic and independent from social applications and platforms? This is a topic we shared and discussed with Belgian-Egyptian musician Tamino in this piece.

THE NEXT DIMENSION OF TAMINO

BY IVICA MAMEDY

Production   Fashion and Art Moroccan Association (F.A.M.A.) Photographer   Moz ERO

TAMINO-AMIR MOHARAM FOUAD known mononymously as TAMINO is the grandson of Egyptian singer and movie star MUHARRAM FOUAD and rose to fame in 2018 with his debut album “AMIR”. If at the beginning the press and fans were comparing him to JEFF BUCKLEY, quickly he pulled away these comparisons as the way he defended his music was unique. On stage, Tamino is hypnotizing and has the power to transport you to another dimension.

After a two-year social media hiatus, TAMINO came back in April 2022 with some new music and released his second record "SAHAR" this September. Once again, this album is a masterpiece and hauntingly beautiful. Before defending it on stage, we met him in Paris where we talked about how his process of making music changed during the worldwide lockdown in 2020 and his approach to using social platforms with parsimony.

THIS ISSUE IS ABOUT EVOLUTION AND HOW DID YOUR FIRST RECORD "AMIR" CHANGE YOU HUMANLY AND AS AN ARTIST DURING THIS WORLDWIDE LOCKDOWN IN 2020?

I feel like my life changed drastically in a short amount of time. I've been on tour for a very long time and I was just focused on that. Seems I gain maturity quickly. When I got back home during the pandemic, I realized how I neglected many things in my daily life and how I was more isolated on tour than during the lockdown. I took the time to see my friends and meet new people. I was evolving as a human being, not as an artist. This made me feel more comfortable writing new songs and creating was an easy and quick process.

IF THE PROCESS WAS QUICK WITH THIS SECOND ALBUM, HAS THE WAY YOU MAKE MUSIC CHANGED?

The process was still pretty similar but being alone with an instrument to find out how to create new sounds was important to me. It's about taking the proper time to create the most authentic and melodic sound.

DID THIS LOCKDOWN HELP YOU TO BE MORE OPEN AND EXPLORE MUSIC WITH NEW PEOPLE AND COLLABORATORS?

I worked with the same bunch of producers, and I also created myself as a producer on this album because I learned a lot about recording and the process to develop demos for example. I was actively part of the production which created some big inspirations in the studio. I have known the double bass player for a long time as he was living behind my counter. We were hanging out together but it was the first time we teamed up to make music. We developed the concept of a dark room for music. We were going into a room and trying to figure out which instruments we'll use to create something organic. It was a great time for exploration.

THE MAIN CONVERSION SINCE YOUR FIRST RECORD IN 2018 IS THAT THE MUSIC INDUSTRY DEPENDS A LOT MORE ON SOCIAL PLATFORMS TO BE SUCCESSFUL. I KNOW YOU ARE VERY DISCREET ON THESE PLATFORMS BUT DID YOUR LABEL RECOMMEND YOU TO BE MORE PRESENT ON TIKTOK FOR EXAMPLE?

For sure they suggested that to me as they do with other artists. I have a TikTok account but my fans know that the only account I'm taking care of is Instagram. My management helps me to update all the other social platforms so it gives me more time to enjoy Instagram in a good way. Two years ago, I deleted Instagram from my phone to avoid being distracted because enjoying pure moments is important to me. Take time to be bored and sometimes it's when you're bored that creativity comes. Now I'm back on Instagram to promote my new project and at the same time, I'm happy to discover beautiful inspirations and imagery on this app.

IT IS PART OF THE JOB OF A MUSICIAN I GUESS NOW?

Yes, but it has to be genuine….if I can give advice to younger artists who struggle on social platforms is the genuine way you communicate with your community.

THIS TWO-YEAR SOCIAL MEDIA HIATUS HELPS YOU TO CREATE THIS BEAUTIFUL NEW ALBUM. IT'S YOUR WAY TO UNVEIL YOUR INTIMATE SIDE?

It was a beautiful moment making this album. It's about maturity and those moments in the studio making these songs was a hundred percent pure. It can't explain how it was such a meaningful moment when we gave birth to "Sahar".

ANY SONG ON THIS ALBUM THAT YOU CHERISH THE MOST?

Oh man, it is so complicated to choose as they are all my babies. It depends, as my favorite song now will not be the same tomorrow. I need to start playing them to compare. The main difference with the first album was that I was already playing them live before they got released.

HOW DO YOU FEEL WHEN YOUR ALBUM IS NOT EVEN OUT AND YOUR SHOWS ARE ALREADY SOLD OUT? ARE YOU MORE CONFIDENT KNOWING YOUR FANS ARE STILL HERE FOR YOU?

It’s amazing and I’m so grateful for this to happen. I mean, there are no words to express how it is a pure recognition for an artist. We have to look at laying bigger venues so people have more change to come. I like playing in small theaters as well as in a stadium. Both can feel intimate as well as people sharing the same energy.

YOUR MUSIC VIDEOS LOOK VERY CINEMATOGRAPHIC. THERE’S ANY MOVIE WHOSE AESTHETIC REPRESENTS YOU THE MOST?