Thomas and Tassilo, the duo behind Pan-Pot, have spent two decades shaping the sound of modern techno from their Berlin base. From their first encounter at SAE Institute to founding the influential labels Second State and HUMAN, their journey mirrors the evolution of electronic music itself.
The pair reflect on creative collaboration, the transformation of Berlin’s legendary club scene, and their nuanced perspective on AI in music production. With new material on the horizon for 2026, Pan-Pot prove that longevity in electronic music comes not from chasing trends, but from staying curious, honest, and deeply connected to the culture that birthed them.
1. You both met at SAE Institute in Berlin, what was that first conversation like, and when did you realize you wanted to make music together rather than separately?
Thomas: Our first encounter at the SAE Institute in Berlin was rather unconventional. We met in a music production lecture and quickly discovered a similar passion for electronic music. Our initial conversation revolved around our favourite artists and genres, and we immediately felt a creative chemistry.
The turning point came when we decided to work on a school exercise together. It was an experiment that showed us how well we harmonised musically and personally. From that moment on, we knew we could achieve more by collaborating rather than pursuing separate paths. The feeling of finding a common voice in music was crucial in the formation of our duo.
2. When you’re in the studio together, how do creative disagreements typically get resolved? Do you have different strengths in the studio?
Thomas: In our studio, we work very collaboratively, and creative disagreements are part of the process. When we have different opinions, we try to talk openly about our perspectives. Most of the time, a discussion about why we prefer a particular approach leads to new ideas and solutions that we hadn’t previously considered.
We actually have different strengths that complement each other well. One of us has a strong feel for melodies and harmonies, while the other is very talented in rhythm and beat making. This combination helps us consider different aspects of a track and create balanced, harmonious music. In the end, what matters to us is the final product, and we’ve learned that different viewpoints often produce the best creative output.
3. Berlin’s techno scene has transformed quite a lot since you started. What aspects of the city’s musical culture do you think are irreplaceable, and what changes have you welcomed?
Thomas: The Berlin techno scene has indeed changed enormously since our beginnings. An irreversible aspect of the musical culture here is the diversity and openness of the people. Berlin has always offered a space for creative self-expression and experimentation. The integration of different musical styles and cultures is something we consider essential and what makes the city unique.
What we welcome about these changes is the professionalization of the scene. Techno culture has evolved and spawned many new artists and labels that bring fresh influence and innovation. The greater acceptance of alternative event formats and experimental sounds is also something we appreciate. It constantly brings new energy to the city and keeps the scene vibrant. We are excited about this development and look forward to being part of this dynamic culture.
4. Starting Second State in 2014 was a major move. What made you feel ready to take on the responsibility of a label, and what’s been the most unexpected challenge of running it?
Thomas: Starting Second State felt like a very natural step for us at that point. By 2014, we’d been touring and releasing music for years, and we had a clear idea of the sound and attitude we wanted to represent. It wasn’t about control or ego it was more about creating a platform where music could develop without too many compromises.
The most unexpected challenge was realizing how much responsibility comes with it. Running a label isn’t just about releasing tracks you love; it’s about supporting artists, managing expectations, timing, pressure and doing all of that while still staying creative yourself. Finding that balance between being an artist and being a mentor or curator is something we’re still learning, but it’s also what makes the whole journey rewarding.
5. You’ve helped break artists who’ve become massive in their own right. What do you look for when signing someone, beyond just good production?
Thomas: Good production is obviously important, but it’s really just the starting point. What we look for beyond that is personality and vision. We’re interested in artists who know who they are and what they want to express — not people chasing trends or trying to sound like someone else.
It’s also about attitude and commitment. Being an artist today means more than just making tracks; it’s about long-term thinking, openness to growth, and the willingness to put in the work. When someone has that inner drive and a genuine connection to the music, you can feel it immediately. Those are the artists we believe in and want to support.
6. What’s the story behind your latest release PHANTAXXXY and how did your collaboration with JindaLee come about?
Thomas: PHANTAXXXY came from a very open and experimental mindset. We weren’t trying to force a specific direction it was more about exploring a certain mood, something hypnotic but also slightly unsettling. The track plays with tension and release, and that idea of illusion versus reality really shaped the overall vibe.
The collaboration with JindaLee happened very organically. We’d been following her work for a while and really connected with her artistic world not just musically, but visually and emotionally as well. When we started exchanging ideas, everything clicked quite naturally. She brought this raw, expressive energy with her Vocals that pushed the track into a different dimension. It became less about a typical feature and more about creating something together that feels immersive and slightly surreal.
7. AI is increasingly present in music production and even performance. What’s your take on its role in electronic music, is it an opportunity, threat, or something else entirely?
Tassilo: For us, AI isn’t something we see in black and white. Electronic music has always been about using new tools, new machines, and pushing technology until it becomes expressive. In that sense, AI feels like a natural continuation rather than a rupture.
We see it mainly as an opportunity, especially in the studio. AI can help with exploration—finding unexpected textures, rhythmic ideas, or variations that might take hours or days to discover manually. It can open doors creatively, but it doesn’t decide why a track exists or what it should feel like. That part still comes from human experience, emotion, and intention.
At the same time, we’re cautious. The risk isn’t that AI will suddenly make better music than humans—it’s that it can flood the space with a lot of functional, soulless content. Electronic music is deeply connected to culture, clubs, cities, and shared physical experiences. That context can’t be automated.
So for us, AI is another instrument. Like any instrument, it can be used creatively or lazily. The responsibility stays with the artist. Technology evolves, but authenticity, taste, and vision can’t be outsourced and that’s where electronic music will always live.
8. After years of relentless touring, how do you maintain the energy and enthusiasm for both performing and producing? Do you ever feel torn between the two?
Tassilo: Touring for so many years definitely changes your relationship with music. In the beginning, everything is pure adrenaline. Later, you have to become more conscious about how you manage your energy—physically, mentally, and creatively.
For us, the key is balance and perspective. Performing and producing feed each other. The club is where we feel the immediate reaction—what works, what connects, what moves people. The studio is where we process those experiences, slow everything down, and turn them into something more timeless. When one side starts to feel exhausting, the other usually pulls us back in.
Of course, there are moments where it feels like a tension. Touring can be intense, and being on the road doesn’t always leave space for deep, focused studio work. But we’ve learned to accept that creativity comes in phases. You don’t have to force it constantly. Sometimes the best thing you can do for production is to step away, play shows, live life, and absorb new impressions.
What keeps the enthusiasm alive is staying curious and not repeating ourselves just because something works. We still challenge each other, we still question our own sound, and we give ourselves permission to evolve. As long as that curiosity is there, the energy comes back naturally—both on stage and in the studio.
9. If you could go back and give your younger selves one piece of advice when you were just starting at SAE, what would it be?
Tassilo: We would probably tell our younger selves to trust the process and be patient. When you’re starting out, especially in a place like SAE, it’s easy to focus too much on results—getting signed, getting gigs, getting recognition. But all of that comes much later, and often in ways you can’t plan.
We’d also say: learn the fundamentals properly. Not just how to use the tools, but why things work the way they do—sound, rhythm, arrangement, acoustics. Trends change fast, but solid knowledge stays with you forever.
Another important thing would be to stay honest with your taste. Don’t chase what’s popular just because it seems like the fastest way forward. Develop your own language, even if it takes longer. In the long run, that’s what gives you longevity.
And maybe most importantly: enjoy the time of experimentation. Make mistakes, make bad tracks, push ideas too far. That phase is where you build confidence and identity. There’s no shortcut to that, and you shouldn’t want one.
10. You’ve achieved what many producers dream of – your own label, global recognition, two decades of relevance. What’s left on your bucket list, and what does success look like for Pan-Pot in the next chapter and what’s planned for 2026 already?
Tassilo: When you’ve been doing this for so long, the idea of a classic “bucket list” changes. We’ve been lucky to experience many things we once only dreamed about. At this point, it’s less about ticking boxes and more about depth, freedom, and longevity.
What’s still important for us is to keep evolving without losing our identity. That means pushing our sound forward, refining it, and staying curious—whether that’s through new production approaches, collaborations, or formats we haven’t explored deeply yet. We’re very interested in projects that allow more space and context than a single club track—things that live beyond the dancefloor but still connect to it.
Success in the next chapter isn’t measured by numbers alone. For us, it’s about relevance with meaning: continuing to play shows that feel special, releasing music we truly stand behind, and running the label in a way that supports artists and ideas we believe in. If Pan-Pot can still feel honest, focused, and respected ten years from now, that’s real success.
As for the near future, we’re already laying foundations for 2026. That includes new music that reflects where we are right now—more mature, more groovy, less BPM-back in some ways, but still powerful.
In the end, what’s left on the list is simple: to stay inspired, stay independent in our thinking, and keep enjoying what we do. The moment that disappears, nothing else really matters.