Interview | Netam

Netam is a rising multi-instrumentalist and electronic producer whose music explores the rich intersection of Eastern influences, organic sounds, and contemporary electronic genres. As part of Kanto Records alongside Oceanvs Orientalis, he’s been making waves with a unique approach that brings the timeless depth of Eastern soundscapes into modern electronic music. Fresh off the release of his first live album on Alt Orient and a standout drum and bass remix of Husa & Zeyada‘s “Aadi,” Netam’s work pushes creative boundaries while staying true to his roots. In this interview, he shares his creative process, the inspiration behind his latest projects, and his vision for the future of electronic music.

Congratulations on the release of your first live album on Alt Orient! Live albums are an interesting concept, leaving a little space for experimentation during the process. What inspired you to take the live approach with this album? and how did it influence your creative process?

Thank you! I’m happy it’s finally released. We recorded the live set in April 2022, and the release process took a while. Playing in a historic space like Yedikule Fortress was a unique experience, and I believe it influenced my performance. The idea to film the live set wasn’t mine; it came from my friend Aser, co-founder of Alt Orient. Big thanks to the whole team who contributed.

Your recent remix of Husa & Zeyada’s “Aadi” has drum n bass influences which brings a unique energy to the track. Can you walk us through your vision and creative choices behind reimagining their sound with your signature style?

For the remix of “Aadi,” I decided to go for a faster, more intense vibe—something different from my usual style but something I’ve been exploring lately. Drum and bass gave me the perfect way to infuse a powerful, driving energy while still honoring the original’s emotion. My goal was to keep the essence of “Aadi” while adding a fresh dynamic edge.

Kanto Records has become a fascinating platform for forward-thinking music. How has working alongside Oceanvs Orientalis shaped your vision for the label, and what impact do you hope Kanto will have on the global electronic scene?

Şafak (Oceanvs Orientalis), who founded Kanto Records, had a vision from the start, and I feel we already share a similar outlook for the label. Now, with a core team, we’re listening to demos, crafting visuals, and planning releases. Beyond music, we’re organizing events for emerging artists of all kinds, giving them a platform to showcase their voices. My hope for Kanto is that it becomes a welcoming space for artists who want to push boundaries and explore new ideas.

You’re known for your multi-instrumentalist skills during your live sets. How do you decide which instruments to bring to the forefront in a live setting, and is there an instrument that feels closest to your personal style?

Keyboards and synthesizers are usually my foundation—they let me explore a wide range of sounds and moods. But transporting gear is challenging, so I’m working to carry fewer instruments on tour. For example, I used to use a 49-key keyboard on stage, but I switched to the Minilogue XD and Yamaha Reface CP. I’ve also been playing trumpet for three years now; it’s my favorite instrument for its soulful, expressive quality.

When working on remixes, do you have a specific approach or routine to transform tracks in a way that still respects the original but adds your unique sound?

I don’t have a specific approach or style for remixes. Each track offers something unique, and I enjoy the challenge of exploring new sounds and techniques. I start by immersing myself in the original piece to understand its core emotions and rhythms, then experiment with textures, tempos, or genres that might bring out something fresh. For me, it’s about respecting the original track while pushing it into new territory to make it feel unique.

 

The intersection of electronic and organic sounds is central to your style. How do you see this fusion evolving in the electronic music landscape, and where do you think it could go next?

Honestly, I’m not sure where my music will go next, and I can’t predict how my taste will evolve. I get easily bored of genres, so I try not to focus on genre labels while producing. Lately, I’ve enjoyed working at higher tempos, usually over 120 BPM.

You’ve had the chance to collaborate with some fantastic artists lately. Are there any other artists, perhaps even outside electronic music, you’d love to work with in the future?

I really enjoy collaborating with other artists. Producing solo has its own rewards—it’s fun, you’re independent, but you’re also confined to your own tastes and ideas. Collaboration, though, is a great way to widening my perspective. And yes, I have a lot of collaborative projects waiting for release!

As you look to the future of your career, are there any new sounds or concepts you’re experimenting with that you can share with us?

I’m currently working on my second album, which has been an exciting journey of experimentation. On this album I tried to go minimal-meditative and I experimented with kalimba, piano, electric piano, trumpet and even field recordings. I call it “an album for sleeping”. It’s a step towards creating soundscapes that feel like musical storytelling, each track evoking a specific place or memory. I’m nearly finished with it, and I’d like to bring this new work to live audiences soon. Thanks a lot one more time to Dunyadan Sesler and the whole team who contributed.