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80b22e063c3387b95979c67f38446cd4c27f340bTMM was a provocative abbreviation for Team Maktmissbruk. But what did it really stand for, beyond just a term? This is the full story of the rise and fall of “TMM”.
Some people on the internet, especially Facebook that very much took over from IRC (not entirely, but enough to rewrite history) know me by the name TMM. Switching up to Facebook, adding IRCers as friends there, also revealed a lot of names of the people I only knew as MegaHal and such. However, some of the people, through projects like Big Brother and Masterplan (swedish reality shows) also made me know people in person (except for those who knew me from school). This is the story about TMM. A project started as a “fun thing” on IRC, very much also known as the Anti-Ragging culture of the 90s.
Table of Contents Toggle 1997: Inititation2007: From IRC to FacebookTeam Maktmissbruk and real lifeThe person behind the lettersProject Anti-RaggA short half accurate timeline of the developmentClosing – why I'm writing this now 1997: Inititation
I didn't wake up one morning and decide that I'd become an acronym. TMM happened the way most internet things did back then – accidentally, half as a joke, half as a reflex to nonsense around me. In the earliest days I used the nicknames TM and TT. It took me painfully long to realise how stupid short abbreviations were – people reuse them, misread them, or simply snatch them because they look cool (or they didn’t even know about me and took it for other reasons).
That's how I ended up with TMM, and on cranky days TMM-TT, when TMM started to mutate into everything – like a Quake clan idea somewhere around 1998-1999 (Multiteket, with Olofsson Brotherhood). Most notably, and where it mostly began, was through the kickscripts I wrote that threw out “raggarna” (the flirters), where TM/Team Maktmissbruk appeared as part of the kick reasons. Regular use of TMM faded out around August 2017; after that I mostly used my own name.
What followed was not planned branding. It was a way to show that I wanted to do something - to change, improve, make things more efficient, and throw out what didn't belong. IRC had a problem – the raggar‑swine that wandered from channel to channel to harass women and DM them like it was a sport. Anti‑ragg, in my terms, meant writing triggers and small modules that could throw people out before they turned a room toxic. Whether that was jealousy, irritation, or early feminism – I'll let that remain unsaid. I was pissed off. And I wasn't alone.
2007: From IRC to Facebook
IRC was a perfect mask. You could be MegaHal one day and three other personalities the next. The move to Facebook happened gradually – many of us stayed on IRC, but at some point I realised it could be fun to add a few IRC contacts on Facebook (not just to see who they really were, but because I cared since many of us carried the same values of the society). That also revealed their real names and lives, but these were not people I ever really fought with. Some familiar handles from #sverige showed up with profile pictures, families, politics. It was disorienting and clarifying at once. That pivot exposed a truth about TMM - it was never a mysterious team. It was me, trying to protect rooms where conversations mattered.
Big Brother and Masterplan (2003-2005) bridged the gap between alias and person, even though the very early start was with Baren, 2002. What had been chat ops and bot scripts grew into chat servers and forums that tied into actual TV productions. Suddenly I wasn't just the guy with a quirky nickname and a short fuse – I was the person people called when their community tech caught fire. I met people face to face. Some put a real name to TMM. Some never did. Both versions of me existed in parallel for a long time.
Team Maktmissbruk and real life
The phrase Team Maktmissbruk started as a tongue‑in‑cheek label on how I moderated – a wink that said I knew I was heavy‑handed, and I did it anyway because the alternative was letting the room rot. The stamp stuck. If someone flooded, targeted, or kept nagging women, they learned very quickly what the triggers did. ircII/Epic aliases and Eggdrop modules – two lines of code culture, one goal. Keep the chat usable without turning it into a police state. Absolute RAGG was never a polished product – it was a kit. It lived in headers, triggers, and comments, and it travelled between shells and servers with me.
Did everyone love it? No. Did it work? Often enough to turn Anti-ragg into a shared habit. A few friends started to adopt the theme. The moniker bled into gaming during lunch breaks in 1998-1999 at the Multiteket education programme – a higher-level sibling to Datorteket – where we learned to make multimedia presentations. For me, Quake was a daytime diversion there, and to play more I cleverly made a presentation about Quake and the participants at Multiteket, that shared space with Datorteket.
The person behind the letters
Currently I really don't actively use the terms of TMM anymore, except as an invisible artist name that still lingers on SoundCloud (it's currently not even on Spotify anymore, which may be the plan to reinstate at least as a verified artist). The alias was phased out. I don’t remember exactly when but after 2007, when starting to use Facebook as “Tomas Tornevall” on Facebook (instead of Thomas Tornevall), i started to flag “TMM” as a kind of extra addon-handle only (to let people from the past that it’s me). What happened during that time were music releases under the TMM name - but in practice the alias had become invisible. In 2009 a few tracks were released via RecordUnion, but they collided with another TMM out there. A lot of things started and stopped around then, but the real change of name and the artist identity took even longer. The Facebook page Tornevall (later also DJ Tornevall) was not created until 13 March 2021, right in the middle of an ongoing pandemic.
Between 2003 and 2006, a lot of us learned that community is infrastructure. But community is not only infrastructure. Personal involvements also matter - and we learned the hard way how much they can damage relationships. Sometime after May 2006 and before December 2006, a serious conflict erupted between a handful of people, some with key roles over IRC servers connected to Big Brother. That conflict eventually led to TMM ending the relationship with what was then m-irc.net (m-sys), by simply withdrawing the entire server network from the shared constellation and continuing to run what was left of Big Brother's chat servers. I still haven't been able to pin down the exact date.
In the 1990s, music for me meant trackers and shitty software. I composed with a keyboard, mouse clicks and weird notes, not a piano. FastTracker made sense to a brain that thought in if‑statements and labels. Around 2009 I hauled the alias out of the server room and into distribution experiments. TMM went to Spotify – and the result was honest and rough. I had help from friends, I moved back to Skåne and absorbed a ton of bass‑forward electronica from the web radio era. Out of that came Bloodline – a track built like a sprint, borrowing a line from a 2007 film merely because it fit the mood. Freakshow landed as a mini‑album beside it. Neither were masterpieces. I continued producing more tracks offline, even though I tried to get more content online. But I wasn’t ready.
Then came the naming problem – again. There were other TMMs out there. Some with catalogues I wouldn't touch with a bargepole. My releases were conflated with somebody else's profile, and there was no clean way to fix it without detonating more than I intended. So I pulled it. Reluctantly. Later, the nostalgia grew louder than pride, and the material began to return – under my own name where it belongs. Psychopath has already surfaced with another artist name than TMM, but Bloodline will come back with proper data. And with this, maybe other creations that never seen the light before.
Project Anti-Ragg
Here's the unromantic version. Anti‑ragg meant: build a barrier to make life livable for the people you want to keep. The scripts looked for patterns – the public "hey girl" opener, the instant PM after a single public line, the persistence after a very clear no. Throttle. Time‑out. Kick. Ban. Repeat.
I wrote those scripts because good people were leaving rooms and the idiots were staying, happily unaware that most of the users on IRCNet had always been men. Trying to be flirtatious on IRC was like looking for female prisoners in a male prison (not literally, but it paints the picture). The dominance on chats was always men, even if many women were also drawn in. But the golden days are probably over - except perhaps if you count DreamHack. If the price of keeping decent company was that some troll called me a maktmissbrukare – fine. Wear the stamp. In hindsight, Anti-ragg was early content moderation with the edges exposed. Today's platforms wrap the same logic in policy decks and machine learning. Back then we had shell accounts and a will.
The long arc from TM to TMM to TMM-TT to Thomas Tornevall is a lesson in ownership. Initials are cheap. Craft takes time. But initials also dilute (sometimes) – when the music collided with a different TMM, it wasn't a legal problem – it was an identity problem, since nicknames and artist names are not very well protected with trademarks. The solution was to just let it go. Besides, TMM wasn’t really a clever thing to run on.
Today, TMM is not a team, a bot, or a clan. It's a footnote that still makes friends smile. The person remains. If you were there – in #sverige, in late‑night chat rooms that felt like kitchen tables, in forums that exploded when a show went live – you already know the punchline. TMM was never a myth. TMM was a mask I wore to keep the lights on while I figured myself out
A short half accurate timeline of the development
Mid‑1990s – lived in the trackers. Music meant modules, not studios.
1997 – TM becomes TMM, and Anti‑ragg goes from an idea to scripts that actually kick.
1998-1999 – Quake shows up as a lunch break diversion at Multiteket, where it became part of a multimedia presentation project - a very local phenomenon, not a clan.
2000s – chat servers, forums, and the broadcast era take over my calendar.
2006-2007 – conflicts lead to leaving m-irc.net/m-sys and continuing Big Brother chat servers independently.
2009 – Bloodline arrives as proof that curiosity outruns perfection. A few tracks are also released via RecordUnion under the TMM name.
2017-08 – last regular use of TMM on IRC; the alias retires from daily use while the person keeps building.
2021-03-13 – the Tornevall Facebook page (later DJ Tornevall) is created in the middle of the pandemic.
2022-2023 – early seeds of a restart are planted, with experiments under my own name and the rebuilding of a presence as DJ Tornevall.
2024-10 – the remaining TMM catalogue is revoked from Spotify due to the naming circumstances around TMM.
2020s – the music returns under my name, and the old tracks find their permanent home.
Closing – why I'm writing this now
Most of this story is quite irrelevant for most of the people I know. The reason I'm writing this is because the whole TMM artistry went wrong when another so‑called powerdick shifted things and my songs ended up under an unknown artist profile. Nostalgia however plays a big part – people don't know what TMM is or was, but some still do. So this is my way of setting it straight: not just for me, but for future questions. I have kids thay may find their way, or some day wonders what the hell this is all about. TMM was a phase, a mask, a habit – sometimes misunderstood, sometimes abused and sometimes extremely hated.
80b22e063c3387b95979c67f38446cd4c27f340b
6778d00b286a6e99585b88992c66789df06c648a
TITLE: TMM: The Boring “Team Maktmissbruk” Story DESCRIPTION: TMM was a provocative abbreviation for Team Maktmissbruk. But what did it really stand for, beyond just a term? This is the full story of the rise and fall of “TMM”. CONTENT: Some people on the internet, especially Facebook that very much took over from IRC (not entirely, but enough to rewrite history) know me by the name TMM. Switching up to Facebook, adding IRCers as friends there, also revealed a lot of names of the people I only knew as MegaHal and such. However, some of the people, through projects like Big Brother and Masterplan (swedish reality shows) also made me know people in person (except for those who knew me from school). This is the story about TMM. A project started as a “fun thing” on IRC, very much also known as the Anti-Ragging culture of the 90s. Table of Contents Toggle 1997: Inititation2007: From IRC to FacebookTeam Maktmissbruk and real lifeThe person behind the lettersProject Anti-RaggA short half accurate timeline of the developmentClosing – why I'm writing this now 1997: Inititation I didn't wake up one morning and decide that I'd become an acronym. TMM happened the way most internet things did back then – accidentally, half as a joke, half as a reflex to nonsense around me. In the earliest days I used the nicknames TM and TT. It took me painfully long to realise how stupid short abbreviations were – people reuse them, misread them, or simply snatch them because they look cool (or they didn’t even know about me and took it for other reasons). That's how I ended up with TMM, and on cranky days TMM-TT, when TMM started to mutate into everything – like a Quake clan idea somewhere around 1998-1999 (Multiteket, with Olofsson Brotherhood). Most notably, and where it mostly began, was through the kickscripts I wrote that threw out “raggarna” (the flirters), where TM/Team Maktmissbruk appeared as part of the kick reasons. Regular use of TMM faded out around August 2017; after that I mostly used my own name. What followed was not planned branding. It was a way to show that I wanted to do something - to change, improve, make things more efficient, and throw out what didn't belong. IRC had a problem – the raggar‑swine that wandered from channel to channel to harass women and DM them like it was a sport. Anti‑ragg, in my terms, meant writing triggers and small modules that could throw people out before they turned a room toxic. Whether that was jealousy, irritation, or early feminism – I'll let that remain unsaid. I was pissed off. And I wasn't alone. 2007: From IRC to Facebook IRC was a perfect mask. You could be MegaHal one day and three other personalities the next. The move to Facebook happened gradually – many of us stayed on IRC, but at some point I realised it could be fun to add a few IRC contacts on Facebook (not just to see who they really were, but because I cared since many of us carried the same values of the society). That also revealed their real names and lives, but these were not people I ever really fought with. Some familiar handles from #sverige showed up with profile pictures, families, politics. It was disorienting and clarifying at once. That pivot exposed a truth about TMM - it was never a mysterious team. It was me, trying to protect rooms where conversations mattered. Big Brother and Masterplan (2003-2005) bridged the gap between alias and person, even though the very early start was with Baren, 2002. What had been chat ops and bot scripts grew into chat servers and forums that tied into actual TV productions. Suddenly I wasn't just the guy with a quirky nickname and a short fuse – I was the person people called when their community tech caught fire. I met people face to face. Some put a real name to TMM. Some never did. Both versions of me existed in parallel for a long time. Team Maktmissbruk and real life The phrase Team Maktmissbruk started as a tongue‑in‑cheek label on how I moderated – a wink that said I knew I was heavy‑handed, and I did it anyway because the alternative was letting the room rot. The stamp stuck. If someone flooded, targeted, or kept nagging women, they learned very quickly what the triggers did. ircII/Epic aliases and Eggdrop modules – two lines of code culture, one goal. Keep the chat usable without turning it into a police state. Absolute RAGG was never a polished product – it was a kit. It lived in headers, triggers, and comments, and it travelled between shells and servers with me. Did everyone love it? No. Did it work? Often enough to turn Anti-ragg into a shared habit. A few friends started to adopt the theme. The moniker bled into gaming during lunch breaks in 1998-1999 at the Multiteket education programme – a higher-level sibling to Datorteket – where we learned to make multimedia presentations. For me, Quake was a daytime diversion there, and to play more I cleverly made a presentation about Quake and the participants at Multiteket, that shared space with Datorteket. The person behind the letters Currently I really don't actively use the terms of TMM anymore, except as an invisible artist name that still lingers on SoundCloud (it's currently not even on Spotify anymore, which may be the plan to reinstate at least as a verified artist). The alias was phased out. I don’t remember exactly when but after 2007, when starting to use Facebook as “Tomas Tornevall” on Facebook (instead of Thomas Tornevall), i started to flag “TMM” as a kind of extra addon-handle only (to let people from the past that it’s me). What happened during that time were music releases under the TMM name - but in practice the alias had become invisible. In 2009 a few tracks were released via RecordUnion, but they collided with another TMM out there. A lot of things started and stopped around then, but the real change of name and the artist identity took even longer. The Facebook page Tornevall (later also DJ Tornevall) was not created until 13 March 2021, right in the middle of an ongoing pandemic. Between 2003 and 2006, a lot of us learned that community is infrastructure. But community is not only infrastructure. Personal involvements also matter - and we learned the hard way how much they can damage relationships. Sometime after May 2006 and before December 2006, a serious conflict erupted between a handful of people, some with key roles over IRC servers connected to Big Brother. That conflict eventually led to TMM ending the relationship with what was then m-irc.net (m-sys), by simply withdrawing the entire server network from the shared constellation and continuing to run what was left of Big Brother's chat servers. I still haven't been able to pin down the exact date. In the 1990s, music for me meant trackers and shitty software. I composed with a keyboard, mouse clicks and weird notes, not a piano. FastTracker made sense to a brain that thought in if‑statements and labels. Around 2009 I hauled the alias out of the server room and into distribution experiments. TMM went to Spotify – and the result was honest and rough. I had help from friends, I moved back to Skåne and absorbed a ton of bass‑forward electronica from the web radio era. Out of that came Bloodline – a track built like a sprint, borrowing a line from a 2007 film merely because it fit the mood. Freakshow landed as a mini‑album beside it. Neither were masterpieces. I continued producing more tracks offline, even though I tried to get more content online. But I wasn’t ready. Then came the naming problem – again. There were other TMMs out there. Some with catalogues I wouldn't touch with a bargepole. My releases were conflated with somebody else's profile, and there was no clean way to fix it without detonating more than I intended. So I pulled it. Reluctantly. Later, the nostalgia grew louder than pride, and the material began to return – under my own name where it belongs. Psychopath has already surfaced with another artist name than TMM, but Bloodline will come back with proper data. And with this, maybe other creations that never seen the light before. Project Anti-Ragg Here's the unromantic version. Anti‑ragg meant: build a barrier to make life livable for the people you want to keep. The scripts looked for patterns – the public "hey girl" opener, the instant PM after a single public line, the persistence after a very clear no. Throttle. Time‑out. Kick. Ban. Repeat. I wrote those scripts because good people were leaving rooms and the idiots were staying, happily unaware that most of the users on IRCNet had always been men. Trying to be flirtatious on IRC was like looking for female prisoners in a male prison (not literally, but it paints the picture). The dominance on chats was always men, even if many women were also drawn in. But the golden days are probably over - except perhaps if you count DreamHack. If the price of keeping decent company was that some troll called me a maktmissbrukare – fine. Wear the stamp. In hindsight, Anti-ragg was early content moderation with the edges exposed. Today's platforms wrap the same logic in policy decks and machine learning. Back then we had shell accounts and a will. The long arc from TM to TMM to TMM-TT to Thomas Tornevall is a lesson in ownership. Initials are cheap. Craft takes time. But initials also dilute (sometimes) – when the music collided with a different TMM, it wasn't a legal problem – it was an identity problem, since nicknames and artist names are not very well protected with trademarks. The solution was to just let it go. Besides, TMM wasn’t really a clever thing to run on. Today, TMM is not a team, a bot, or a clan. It's a footnote that still makes friends smile. The person remains. If you were there – in #sverige, in late‑night chat rooms that felt like kitchen tables, in forums that exploded when a show went live – you already know the punchline. TMM was never a myth. TMM was a mask I wore to keep the lights on while I figured myself out A short half accurate timeline of the development Mid‑1990s – lived in the trackers. Music meant modules, not studios. 1997 – TM becomes TMM, and Anti‑ragg goes from an idea to scripts that actually kick. 1998-1999 – Quake shows up as a lunch break diversion at Multiteket, where it became part of a multimedia presentation project - a very local phenomenon, not a clan. 2000s – chat servers, forums, and the broadcast era take over my calendar. 2006-2007 – conflicts lead to leaving m-irc.net/m-sys and continuing Big Brother chat servers independently. 2009 – Bloodline arrives as proof that curiosity outruns perfection. A few tracks are also released via RecordUnion under the TMM name. 2017-08 – last regular use of TMM on IRC; the alias retires from daily use while the person keeps building. 2021-03-13 – the Tornevall Facebook page (later DJ Tornevall) is created in the middle of the pandemic. 2022-2023 – early seeds of a restart are planted, with experiments under my own name and the rebuilding of a presence as DJ Tornevall. 2024-10 – the remaining TMM catalogue is revoked from Spotify due to the naming circumstances around TMM. 2020s – the music returns under my name, and the old tracks find their permanent home. Closing – why I'm writing this now Most of this story is quite irrelevant for most of the people I know. The reason I'm writing this is because the whole TMM artistry went wrong when another so‑called powerdick shifted things and my songs ended up under an unknown artist profile. Nostalgia however plays a big part – people don't know what TMM is or was, but some still do. So this is my way of setting it straight: not just for me, but for future questions. I have kids thay may find their way, or some day wonders what the hell this is all about. TMM was a phase, a mask, a habit – sometimes misunderstood, sometimes abused and sometimes extremely hated.
TITLE: TMM: The Boring “Team Maktmissbruk” Story DESCRIPTION: TMM was a provocative abbreviation for Team Maktmissbruk. But what did it really stand for, beyond just a term? This is the full story of the rise and fall of “TMM”. CONTENT: Some people on the internet, especially Facebook that very much took over from IRC (not entirely, but enough to rewrite history) know me by the name TMM. Switching up to Facebook, adding IRCers as friends there, also revealed a lot of names of the people I only knew as MegaHal and such. However, some of the people, through projects like Big Brother and Masterplan (swedish reality shows) also made me know people in person (except for those who knew me from school). This is the story about TMM. A project started as a “fun thing” on IRC, very much also known as the Anti-Ragging culture of the 90s. Table of Contents Toggle 1997: Inititation2007: From IRC to FacebookTeam Maktmissbruk and real lifeThe person behind the lettersProject Anti-RaggA short half accurate timeline of the developmentClosing – why I'm writing this now 1997: Inititation I didn't wake up one morning and decide that I'd become an acronym. TMM happened the way most internet things did back then – accidentally, half as a joke, half as a reflex to nonsense around me. In the earliest days I used the nicknames TM and TT. It took me painfully long to realise how stupid short abbreviations were – people reuse them, misread them, or simply snatch them because they look cool (or they didn’t even know about me and took it for other reasons). That's how I ended up with TMM, and on cranky days TMM-TT, when TMM started to mutate into everything – like a Quake clan idea somewhere around 1998-1999 (Multiteket, with Olofsson Brotherhood). Most notably, and where it mostly began, was through the kickscripts I wrote that threw out “raggarna” (the flirters), where TM/Team Maktmissbruk appeared as part of the kick reasons. Regular use of TMM faded out around August 2017; after that I mostly used my own name. What followed was not planned branding. It was a way to show that I wanted to do something - to change, improve, make things more efficient, and throw out what didn't belong. IRC had a problem – the raggar-swine that wandered from channel to channel to harass women and DM them like it was a sport. Anti-ragg, in my terms, meant writing triggers and small modules that could throw people out before they turned a room toxic. Whether that was jealousy, irritation, or early feminism – I'll let that remain unsaid. I was pissed off. And I wasn't alone. 2007: From IRC to Facebook IRC was a perfect mask. You could be MegaHal one day and three other personalities the next. The move to Facebook happened gradually – many of us stayed on IRC, but at some point I realised it could be fun to add a few IRC contacts on Facebook (not just to see who they really were, but because I cared since many of us carried the same values of the society). That also revealed their real names and lives, but these were not people I ever really fought with. Some familiar handles from #sverige showed up with profile pictures, families, politics. It was disorienting and clarifying at once. That pivot exposed a truth about TMM - it was never a mysterious team. It was me, trying to protect rooms where conversations mattered. Big Brother and Masterplan (2003-2005) bridged the gap between alias and person, even though the very early start was with Baren, 2002. What had been chat ops and bot scripts grew into chat servers and forums that tied into actual TV productions. Suddenly I wasn't just the guy with a quirky nickname and a short fuse – I was the person people called when their community tech caught fire. I met people face to face. Some put a real name to TMM. Some never did. Both versions of me existed in parallel for a long time. Team Maktmissbruk and real life The phrase Team Maktmissbruk started as a tongue-in-cheek label on how I moderated – a wink that said I knew I was heavy-handed, and I did it anyway because the alternative was letting the room rot. The stamp stuck. If someone flooded, targeted, or kept nagging women, they learned very quickly what the triggers did. ircII/Epic aliases and Eggdrop modules – two lines of code culture, one goal. Keep the chat usable without turning it into a police state. Absolute RAGG was never a polished product – it was a kit. It lived in headers, triggers, and comments, and it travelled between shells and servers with me. Did everyone love it? No. Did it work? Often enough to turn Anti-ragg into a shared habit. A few friends started to adopt the theme. The moniker bled into gaming during lunch breaks in 1998-1999 at the Multiteket education programme – a higher-level sibling to Datorteket – where we learned to make multimedia presentations. For me, Quake was a daytime diversion there, and to play more I cleverly made a presentation about Quake and the participants at Multiteket, that shared space with Datorteket. The person behind the letters Currently I really don't actively use the terms of TMM anymore, except as an invisible artist name that still lingers on SoundCloud (it's currently not even on Spotify anymore, which may be the plan to reinstate at least as a verified artist). The alias was phased out. I don’t remember exactly when but after 2007, when starting to use Facebook as “Tomas Tornevall” on Facebook (instead of Thomas Tornevall), i started to flag “TMM” as a kind of extra addon-handle only (to let people from the past that it’s me). What happened during that time were music releases under the TMM name - but in practice the alias had become invisible. In 2009 a few tracks were released via RecordUnion, but they collided with another TMM out there. A lot of things started and stopped around then, but the real change of name and the artist identity took even longer. The Facebook page Tornevall (later also DJ Tornevall) was not created until 13 March 2021, right in the middle of an ongoing pandemic. Between 2003 and 2006, a lot of us learned that community is infrastructure. But community is not only infrastructure. Personal involvements also matter - and we learned the hard way how much they can damage relationships. Sometime after May 2006 and before December 2006, a serious conflict erupted between a handful of people, some with key roles over IRC servers connected to Big Brother. That conflict eventually led to TMM ending the relationship with what was then m-irc.net (m-sys), by simply withdrawing the entire server network from the shared constellation and continuing to run what was left of Big Brother's chat servers. I still haven't been able to pin down the exact date. In the 1990s, music for me meant trackers and shitty software. I composed with a keyboard, mouse clicks and weird notes, not a piano. FastTracker made sense to a brain that thought in if-statements and labels. Around 2009 I hauled the alias out of the server room and into distribution experiments. TMM went to Spotify – and the result was honest and rough. I had help from friends, I moved back to Skåne and absorbed a ton of bass-forward electronica from the web radio era. Out of that came Bloodline – a track built like a sprint, borrowing a line from a 2007 film merely because it fit the mood. Freakshow landed as a mini-album beside it. Neither were masterpieces. I continued producing more tracks offline, even though I tried to get more content online. But I wasn’t ready. Then came the naming problem – again. There were other TMMs out there. Some with catalogues I wouldn't touch with a bargepole. My releases were conflated with somebody else's profile, and there was no clean way to fix it without detonating more than I intended. So I pulled it. Reluctantly. Later, the nostalgia grew louder than pride, and the material began to return – under my own name where it belongs. Psychopath has already surfaced with another artist name than TMM, but Bloodline will come back with proper data. And with this, maybe other creations that never seen the light before. Project Anti-Ragg Here's the unromantic version. Anti-ragg meant: build a barrier to make life livable for the people you want to keep. The scripts looked for patterns – the public "hey girl" opener, the instant PM after a single public line, the persistence after a very clear no. Throttle. Time-out. Kick. Ban. Repeat. I wrote those scripts because good people were leaving rooms and the idiots were staying, happily unaware that most of the users on IRCNet had always been men. Trying to be flirtatious on IRC was like looking for female prisoners in a male prison (not literally, but it paints the picture). The dominance on chats was always men, even if many women were also drawn in. But the golden days are probably over - except perhaps if you count DreamHack. If the price of keeping decent company was that some troll called me a maktmissbrukare – fine. Wear the stamp. In hindsight, Anti-ragg was early content moderation with the edges exposed. Today's platforms wrap the same logic in policy decks and machine learning. Back then we had shell accounts and a will. The long arc from TM to TMM to TMM-TT to Thomas Tornevall is a lesson in ownership. Initials are cheap. Craft takes time. But initials also dilute (sometimes) – when the music collided with a different TMM, it wasn't a legal problem – it was an identity problem, since nicknames and artist names are not very well protected with trademarks. The solution was to just let it go. Besides, TMM wasn’t really a clever thing to run on. Today, TMM is not a team, a bot, or a clan. It's a footnote that still makes friends smile. The person remains. If you were there – in #sverige, in late-night chat rooms that felt like kitchen tables, in forums that exploded when a show went live – you already know the punchline. TMM was never a myth. TMM was a mask I wore to keep the lights on while I figured myself out A short half accurate timeline of the development Mid-1990s – lived in the trackers. Music meant modules, not studios. 1997 – TM becomes TMM, and Anti-ragg goes from an idea to scripts that actually kick. 1998-1999 – Quake shows up as a lunch break diversion at Multiteket, where it became part of a multimedia presentation project - a very local phenomenon, not a clan. 2000s – chat servers, forums, and the broadcast era take over my calendar. 2006-2007 – conflicts lead to leaving m-irc.net/m-sys and continuing Big Brother chat servers independently. 2009 – Bloodline arrives as proof that curiosity outruns perfection. A few tracks are also released via RecordUnion under the TMM name. 2017-08 – last regular use of TMM on IRC; the alias retires from daily use while the person keeps building. 2021-03-13 – the Tornevall Facebook page (later DJ Tornevall) is created in the middle of the pandemic. 2022-2023 – early seeds of a restart are planted, with experiments under my own name and the rebuilding of a presence as DJ Tornevall. 2024-10 – the remaining TMM catalogue is revoked from Spotify due to the naming circumstances around TMM. 2020s – the music returns under my name, and the old tracks find their permanent home. Closing – why I'm writing this now Most of this story is quite irrelevant for most of the people I know. The reason I'm writing this is because the whole TMM artistry went wrong when another so-called powerdick shifted things and my songs ended up under an unknown artist profile. Nostalgia however plays a big part – people don't know what TMM is or was, but some still do. So this is my way of setting it straight: not just for me, but for future questions. I have kids thay may find their way, or some day wonders what the hell this is all about. TMM was a phase, a mask, a habit – sometimes misunderstood, sometimes abused and sometimes extremely hated.
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480fd9f907ea6224d853bd0f2950db628b029bbfIn 2009, TMM began his first experiments with Spotify and digital music releases. For him, music production was still very much in its infancy. During the 1990s, he had worked exclusively with FastTracker (versions 1 and 2), but with support...
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In 2009, TMM began his first experiments with Spotify and digital music releases. For him, music production was still very much in its infancy. During the 1990s, he had worked exclusively with FastTracker (versions 1 and 2), but with support from Kristian “Miazma” Olofsson he eventually transitioned to Cakewalk and on the long road also acquired a Yamaha synth.
After moving back home to Scania (Skåne) a few years earlier, he had been inspired by what he believed to be Digitally Imported. The idea was to recreate the type of music he had heard there, with its specific, rapid basslines. The outcome was mixed, but from these efforts the track Bloodline emerged, drawing on a quote from the 2007 film The Last Legion. Released over a three-month period in 2009, Bloodline stood alongside a few other tracks as an early experiment. Freakshow, a small mini-album, was released simultaneously and may have been intended as the foundation of a larger project, even though the music at that point was far from polished. Truth be told, Bloodline was never particularly good either, but it still marked a starting point. It also became the last track from TMM’s early catalog to find its way onto multiple streaming platforms.
Later, TMM’s releases were removed after being confused with another artist (Spotify link) whose catalog contained dubious titles, such as “Enjoy my power dick”. Keeping the material online under those circumstances was out of the question. Filing a claim was not a real option either, since it could have led to hijacking the entire artist profile.
Although the takedown was reluctant, it became reality on October 10, 2024 – around the same time Psychopath was re-released. Contrary to how it might look, the tracks had not been offline for 16 years, but closer to 15. Now, with the relaunch underway, the idea is that this time the artist will finally find his rightful place. The re-release is motivated less by expectations of success and more by nostalgia, by the idea of giving TMM’s early works a new, permanent home.
372c380d00d2df021c3bfa3cd6e80f67dd5f608eAs my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only...
As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only accessible via direct link from me. Now, however, I’ve made a change that allows more people to access the GPTs I use myself (often on a daily basis). After organizing the logos for all of them, they are now available in the GPT Store online at OpenAI.
Click here to see the full “product” list!
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TITLE: Releasing full list of GPT tools (except for AngryGPT, that is still not allowed to get published) DESCRIPTION: As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only... CONTENT: As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only accessible via direct link from me. Now, however, I've made a change that allows more people to access the GPTs I use myself (often on a daily basis). After organizing the logos for all of them, they are now available in the GPT Store online at OpenAI. Click here to see the full “product” list!
TITLE: Releasing full list of GPT tools (except for AngryGPT, that is still not allowed to get published) DESCRIPTION: As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only... CONTENT: As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only accessible via direct link from me. Now, however, I’ve made a change that allows more people to access the GPTs I use myself (often on a daily basis). After organizing the logos for all of them, they are now available in the GPT Store online at OpenAI. Click here to see the full “product” list!
372c380d00d2df021c3bfa3cd6e80f67dd5f608e
f6012f8c1c2734bc308e3caa5c9c788c89af44b1
f6012f8c1c2734bc308e3caa5c9c788c89af44b1As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only...
As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only accessible via direct link from me. Now, however, I've made a change that allows more people to access the GPTs I use myself (often on a daily basis). After organizing the logos for all of them, they are now available in the GPT Store online at OpenAI.
Click here to see the full “product” list!
f6012f8c1c2734bc308e3caa5c9c788c89af44b1
372c380d00d2df021c3bfa3cd6e80f67dd5f608e
TITLE: Releasing full list of GPT tools (except for AngryGPT, that is still not allowed to get published) DESCRIPTION: As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only... CONTENT: As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only accessible via direct link from me. Now, however, I've made a change that allows more people to access the GPTs I use myself (often on a daily basis). After organizing the logos for all of them, they are now available in the GPT Store online at OpenAI. Click here to see the full “product” list!
TITLE: Releasing full list of GPT tools (except for AngryGPT, that is still not allowed to get published) DESCRIPTION: As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only... CONTENT: As my personal development alongside ChatGPT has progressed, there have been moments when it felt easier to create a “personalized” AI that goes somewhat beyond my own profile criteria on OpenAI. I’ve kept most of these GPTs open, but only accessible via direct link from me. Now, however, I’ve made a change that allows more people to access the GPTs I use myself (often on a daily basis). After organizing the logos for all of them, they are now available in the GPT Store online at OpenAI. Click here to see the full “product” list!
372c380d00d2df021c3bfa3cd6e80f67dd5f608e
f6012f8c1c2734bc308e3caa5c9c788c89af44b1
a5eabbcc3bbde2d026542e808d46d0ab5a3250d1This is one of the lost mixtracks that was originally meant to welcome the new year 2024. For some reason, both the DJ set and the tracklist mysteriously disappeared from the internet. Now I’ve managed to restore the actual performance...
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This is one of the lost mixtracks that was originally meant to welcome the new year 2024. For some reason, both the DJ set and the tracklist mysteriously disappeared from the internet. Now I’ve managed to restore the actual performance and make it available as a stream here on the website! This also marks the beginning of continuous streaming of all future mixtracks, since very few platforms allow this type of material to be uploaded on their domains. Usually it gets moderated, or the audio gets muted. That is NOT the case on this website.
Track list
TidArtist(er)TitelVersion/Mix00:00Dale MoveKassiraExtended Mix01:30Tim Hox, East & Young & Sofiya NzauDaciOriginal Mix, Clean CK Cut02:263DGerogy PorgyArmand Van Helden Remix03:43Tom & Collins, Mr. Pig, Minow, GabsyPa Lantefeat Gabsy04:43CrazibizaAlegresRadio Mix05:43Blake StrangeCraveOriginal Mix07:27Andrea CasulaTrompettes Du JugementSaxotik Mix08:28AOTONIf I Can’tRemix09:58Harry RomeroTaniaRiva Starr Remix12:12Davina Moss Feat. Luna Ramirez & Andrea CarolinaCantamos–14:00AndinoBeats On Fire–15:27CaittoTakeExtended Mix17:11AltamiranoBokongoFabian Argomedo Remix18:04Belier & RibassVA A Caer–19:03Davide ToschiDark SideLucas Rotela Remix19:48Adam OwensExoticJustin Malone Dub Mix20:48Babes on the RunBabieCrazibiza Edit22:01Roger Shah & Sian EvansHide UJerome Isma-Ae 2022 Remix22:45DJ SnakeDisco Maghreb–24:15PluvioRenaissanceHudat Remix25:15Block & CrownDangerous Beast–26:30Chaka Boom Bang (Klubbheads)Tossin’ & Turnin’Extended Ultimate Club Mix27:14FynutzuNo Turning BackExtended Mix30:11MarloHoogenbanger–30:41Novem VivitTransitOriginal Mix31:55The Cube Guys, Juan Diaz, Alexandra PrinceTurn It UpVocal Mix33:25BelcastroPressureOriginal Mix34:24Frankie Steel, Earth n DaysLove Me BetterExtended36:08EeemusYunzjah–36:57ChipuMadagascarExtended Mix39:40RebūkeAlong Came PollyOriginal Mix42:54Boye & SigvardtVoyage–44:00David Morales, Scott Paynter & DeltaParty in De GhettoExtended Mix46:00OTIOT, EL WavesTonguese(Oops: 128 kbps)
d7e35ca51f7e67e4cd40de353ce7c7a0d00ef940This is a timeline analysis of Thomas Tornevall and his musical path. Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched....
This is a timeline analysis of Thomas Tornevall and his musical path.
Table of Contents Toggle Very early years and influences (1977-1990s)Exploring genres and productionFormalization – DJ career (from December 2021)The MINT Experiment – creative duo (2009-2017) and the revivalsJessica Granqvist – a formative influence (from 2023)Creative resurgence (2023 and forward)Musical essays – style and purposeCondensed timelineSoftware timeline and early works Very early years and influences (1977-1990s)
Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched. By the time he entered his teenage years, with a budget as poor as buying a used bicycle with no wheels, the SoundBlaster Pro 2 became the closest he could get to experiencing real sound. The wider Internet era for private users did not arrive until the early 1990s, when loopholes made it possible to access dial-up services outside universities, and this opened the way to trackers, BBS exchanges, and eventually FastTracker.
According to old Super 8 home videos, Thomas was fascinated by music even before he could walk. While there is no clear record of the exact moment when music became more than just background sound, his parents often played cassettes and vinyl that caught his attention early. In the later years (during the 80s mostly, is a guess) he was exposed to Swedish dance band music, which formed a first layer of influence, even if his true musical direction was still unwritten.
Until…
Thomas’s sister Annelie introduced him to house and acid house music through one of her classmates (Totte, where are you?), most likely in the late 80s and early 90s. Annelie herself was deeply into music and often brought home fairly mainstream pop, though the exact details of her taste remain a bit unclear. What Thomas remembers is Madonna standing out vividly – so much so that he once even believed Madonna was actually a girl called “Cina”, interested in him.
Radio and television also became important: the show “Tracks” on Sveriges Radio P3 offered exciting new sounds, and with satellite TV arriving at home, MTV became a constant source of inspiration. In particular, MTV Party Zone served as a major well of ideas.
It was in the middle of this atmosphere that FastTracker entered the picture – the only tool he had access to for starting to create music. From there, early inspiration grew out of 1990s dance music – techno, rave, eurodance – combined with a passion for house and elements of world music.
Archival notes on file dates (in the bottom tables):
Earliest RBS backups are dated 1997-10 (for example, “Hata Frank” last edited 1997-11-13). These may be early Reason song/bank stubs or later conversions – treat dates cautiously.
RNS and RBS sessions appear 1999-2001 in the archive, overlapping with Cakewalk and ReBirth. Many WRK projects were later rescued to BUN, so modified timestamps can reflect recovery rather than creation.
A few BUN files resurface in 2002 while Reason was already dominant, likely for long-form mix work in Cakewalk.
Reason usage is steady up to roughly 2017. In September-October 2017 a relationship ended, and 2018 became a crisis year, leaving a large creative gap. Pauses continue 2018-2020/21, then a return, and finally a shift to Reason Studios 13 from 2022-11.
Exploring genres and production
Thomas's exploration of genres was not a simple list of influences but an evolving landscape. During the 1990s and 2000s he immersed himself in Jungle, Drum & Bass, techno, trance, and house, carefully dissecting the production techniques behind artists such as Andy C and Sub Focus from the Drum & Bass world. In the club scene, long-standing figures like Fatboy Slim (first breaking through in the late 1980s with Beats International) and Carl Cox (already a leading name from the acid house era) stood out. Alongside them were house innovators such as the duo Masters at Work (Louie Vega and Kenny Dope), soon followed by Roger Sanchez, Armand Van Helden, and Daft Punk as the 1990s turned into the 2000s. While Frankie Knuckles is often cited as the godfather of house, his presence was more peripheral for Thomas personally – his stronger pull came later with the evolution into tech-house, a hybrid style that combined minimal grooves with house energy.
Black Box – first discovered on Max Mix vinyl compilations such as Max Mix 10 and Max Mix 11 – burned an unforgettable imprint in his memory. Those compilations, with their kaleidoscopic blends, taught him early lessons about rhythm, transition, and sampling. Many of these artists and sounds became recognizable only later, as he began memorizing and documenting names to avoid losing them again. A key memory was recording a melody he loved onto cassette, only to erase it by accident – a loss that later drove him to keep written records and eventually inspired the creation of his “Childhood of Doom” playlist.
Parallel to this electronic foundation, he was also drawn to heavier, darker textures. Industrial and metal bands like Rammstein and Dimmu Borgir added a layer of aggression and atmosphere to his understanding of sound. This duality – intricate rhythm and bass on one side, distorted guitars and orchestral drama on the other – gave his productions a unique edge.
As a result, Thomas never confined himself to one style. His archives show transitions between four-to-the-floor house sketches, breakbeat-driven experiments, atmospheric trance passages, and darker industrial-inspired edits. What held it together was a restless curiosity: each genre was less a destination and more a toolkit, expanding the possibilities of his own voice as a producer.
Equally important are the club and rave classics that shaped his taste. These include Kim Appleby, M/A/R/R/S – “Pump Up the Volume”, L.A. Style – “James Brown Is Dead”, General Levy – “Incredible”, and the unstoppable energy of 2 Unlimited. He absorbed iconic tracks such as “Plastic Dreams”, the full Black Box catalogue, “Pump Up the Jam” and its countless successors, as well as material from U.S.U.R.A., Sonic Surfer, and Euro-rave mainstays like “Meet Her at the Love Parade” and Quadrophonia. This wave of Eurodance and rave music was not a background noise but a living school of sound design, arrangement, and energy.
Another dimension of his exploration was the struggle to recover music that had slipped through the cracks of memory. Many tracks were heard only once on MTV or obscure satellite channels and never resurfaced again, sometimes preserved only on lost VHS tapes. One striking rediscovery came in 2025: System 7 – “Alpha Wave” (Plastikman Acid House Remix), a track he had originally caught only once through encrypted satellite frequencies. This rare find intertwined with his connection to 1FM, the station that would later become BBC Radio 1, cementing how fleeting signals and chance encounters could deeply mark his creative DNA.
Alongside this electronic and rave-driven foundation, he also kept a fascination for Swedish dansband (such as Lasse Stefanz, Arvingarna, Vikingarna), the rapid growth of 1990s hip hop (boom bap styles, Public Enemy, Ice Cube), and the crossover world of DJ Supreme and club mix culture. Later years added Drill and Grime influences, showing that his musical lens stretched far beyond typical electronic boundaries.
After 2021, his influences expanded dramatically. Artists such as Vlada Asanin, Anfisa Letyago, Deborah De Luca, Siwell, Riva Starr, Bob Sinclar, Shy FX, Chase & Status, DJ Burlak, Koven, Mob Tactics, Evol Intent, Mosimann, and Buju Banton became enormous markers in his musical direction. Old-school names like The KLF, Jody Watley, Boney M., Salt N Pepa, Kim Appleby, Jerry Reed, and Doug Kershaw resurfaced as important nodes in his library. Norman Cook's Fatboy Slim legacy remained a cornerstone, and close collaborations and remixes, such as for Pete & Bas or even material from friends like Noilec, added a personal dimension. This combination of modern techno, bass music, hip hop, reggae, and classic pop reinforced his post-2021 path as borderless and fearless.
These were not just songs on the radio, but the building blocks of a personal creative DNA, forming a bridge between professional club culture and his own experiments in trackers and sequencers.
Formalization – DJ career (from December 2021)
After the end of a long relationship in late 2017, the idea of DJing slowly grew during the following years. What began as curiosity – partly triggered by hearing that his ex's new partner dabbled poorly in DJing – turned into late-night searches for affordable controllers. By December 2021 he finally owned his first controller and began experimenting with mixing. During 2022 he upgraded from a DDJ-400 to a Pioneer FLX-10, aiming to go larger. Copyright warnings on early mixes, however, made him realize the importance of creating original material. Inspired by Koven's live sets and the control that comes from performing one's own productions, he decided in 2023 to return seriously to music production, subscribing again to Reason Studios and shifting focus toward house and drum & bass.
The MINT Experiment – creative duo (2009-2017) and the revivals
The MINT Experiment – a duo together with Ingela Karlsson (later Machuca Burgos, with whom Thomas shared a relationship between roughly 2003 and 2017). They first connected sometime in 2003 through Lunarstorm and similar channels (IRC), and after a few months of contact, according to logs, finally met in person on 21 November 2003, a few minutes after 19:28 (awkward isn’t it?). Their relationship developed quickly, with a move to Järna taking place between late 2003 and early 2004, followed by a move together to Klippan on 3 July 2004. These anchor points are useful for context but do not need all surrounding television event references.
Their first musical collaboration was the track Bejeweled, produced in 2009 and released online on March 18, 2010. The song was later retitled Emily's Song in honor of their daughter (born October 2010) and formally released via Record Union in December 2013.
Two more tracks, DNA and Witness, were produced but delayed due to personal circumstances and the duo's eventual split. Witness was finalized in August 2017, while DNA was released in December 2023. An updated version of Witness followed in April 2024.
A personal remix, Bejeweled 3, was also produced as a dedication to his son, incorporating samples of his children's voices. This track symbolized a creative revival and was released in January 2023.
Jessica Granqvist – a formative influence (from 2023)
Amid the creative resurgence of 2023, Thomas also met Jessica Granqvist. Her impact on his life was profound, shaping his direction and giving him new energy at a time when his calendar was already packed with drag-of-war competitions and photography assignments. Despite the intensity of those commitments, Jessica's influence cut through and marked a new phase in both his personal and musical life.
On 24 February 2022, Russia attacked Ukraine – the same date when Thomas and Jessica later became a couple. To avoid tying their anniversary to the memory of war, they decided to officially celebrate it on 26 February instead. This choice made their relationship anniversary not just personal, but also a symbolic rejection of conflict.
Creative resurgence (2023 and forward)
From 2023 onwards, Thomas entered a period of steady productivity. Releases like Bejeweled 3, DNA, and the updated Witness set the stage, and by 2024-2025 he was in a strong creative flow. Other works such as No 2024, the so-called deep-state tracks (Man in the Middle and Flurry Flute), and Anger Management may not have been his strongest productions, but they became important stepping stones. These tracks, made around 2022-2023, helped him test EDM structures and laid the groundwork for later, more refined productions.
New projects spanned liquid drum & bass, remixes, experimental soundscapes, and playful works under Tornevalls Neural Ensemble, The Houseifyer and Rhythm Shifter. This period saw both volume and variety, proving that his return was more than a brief revival.
Musical essays – style and purpose
Thomas's approach to music has always been about pushing limits and defying categories. A very important point has always been that he makes music for himself - creating tracks he wants to listen to, regardless of trends or expectations. He blends genres freely, shifts between studio production and live performance, and alternates between solo work and collaborations. His drive to explore ranges from the earliest tracker modules to full DJ sets, touching house, techno, drum & bass, mashups and beyond. Just as important, his art is not only sound but also image - audio and visuals are inseparable in the way he expresses himself.
Condensed timeline
PeriodKey milestone1977-1990sChildhood inspiration – dance music, FastTracker 21990-2000Expanded production – Cakewalk, Reason2003-2017Relationship with Ingela, move to Järna & Klippan, MINT groundwork2009-2013MINT Experiment formed, first releases (Bejeweled/Emily's Song, early sketches leading to DNA and Witness) – and other solo releases.2017-2018Breakup and crisis year – major creative gap2021Official start as DJ-trainee2023Bejeweled 3, DNA, Anger Management and return to production. Also meeting Jessica Granqvist.2023-2025Renewed productivity and diverse projects (No 2024, deep-state tracks like Man in the Middle and Flurry Flute, Anger Management, and other experimental groundwork)
Software timeline and early works
PeriodSoftware / ToolsExample works (titles)Notes1993-2001FastTracker 1 & 2, ReBirth, Cakewalk (WRK/BUN)A lot of releases, that never saw the light. Some has, some has not. Most of it is kind-of-shitty.Transition from MODs in FT1 to XM handling in FT2 (introduced 1994). ReBirth used for synth/beat and Cakewalk for arranging, edits and longer mixes. WRK/BUN preserved parallel projects. Culmination of early tracker and sequencer era before Reason takeover.2001-2021Reason (RNS/RBS)Early Reason sessions (Aug 2001), through2 series, Elmstreet experimentsEarliest RBS backups dated 1997-10 (e.g. “Hata Frank” last edited 1997-11-13). Clear overlap 1999-2001 with Cakewalk/ReBirth. Reason used consistently until ~2017, then pauses 2018-2020/21. Mostly based on Reason 5 until transition.2009-2013Reason (RNS/RBS)Bejeweled (2010), Emily's Song (2013), early DNA drafts, early Witness draftsFirst official releases under MINT Experiment. Collaborative works with Ingela. Built foundation for later 2020s resurgence.2022 onwardReason Studios (v13 and beyond)Bejeweled 3 (2023), DNA (2023), Witness (2024), No 2024 (2022), Man in the Middle (2022), Flurry Flute (2022), Anger Management (2023), additional DJ-related sessionsTransition to Reason Studios after long-term use of older Reason (mainly v5) up to around 2020-2021. Renewed activity and integration
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TITLE: Who is Thomas musically? DESCRIPTION: This is a timeline analysis of Thomas Tornevall and his musical path. Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched.... CONTENT: This is a timeline analysis of Thomas Tornevall and his musical path. Table of Contents Toggle Very early years and influences (1977-1990s)Exploring genres and productionFormalization – DJ career (from December 2021)The MINT Experiment – creative duo (2009-2017) and the revivalsJessica Granqvist – a formative influence (from 2023)Creative resurgence (2023 and forward)Musical essays – style and purposeCondensed timelineSoftware timeline and early works Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched. By the time he entered his teenage years, with a budget as poor as buying a used bicycle with no wheels, the SoundBlaster Pro 2 became the closest he could get to experiencing real sound. The wider Internet era for private users did not arrive until the early 1990s, when loopholes made it possible to access dial‑up services outside universities, and this opened the way to trackers, BBS exchanges, and eventually FastTracker. According to old Super 8 home videos, Thomas was fascinated by music even before he could walk. While there is no clear record of the exact moment when music became more than just background sound, his parents often played cassettes and vinyl that caught his attention early. In the later years (during the 80s mostly, is a guess) he was exposed to Swedish dance band music, which formed a first layer of influence, even if his true musical direction was still unwritten. Until… Thomas’s sister Annelie introduced him to house and acid house music through one of her classmates (Totte, where are you?), most likely in the late 80s and early 90s. Annelie herself was deeply into music and often brought home fairly mainstream pop, though the exact details of her taste remain a bit unclear. What Thomas remembers is Madonna standing out vividly – so much so that he once even believed Madonna was actually a girl called “Cina”, interested in him. Radio and television also became important: the show “Tracks” on Sveriges Radio P3 offered exciting new sounds, and with satellite TV arriving at home, MTV became a constant source of inspiration. In particular, MTV Party Zone served as a major well of ideas. It was in the middle of this atmosphere that FastTracker entered the picture – the only tool he had access to for starting to create music. From there, early inspiration grew out of 1990s dance music – techno, rave, eurodance – combined with a passion for house and elements of world music. Archival notes on file dates (in the bottom tables): Earliest RBS backups are dated 1997-10 (for example, “Hata Frank” last edited 1997-11-13). These may be early Reason song/bank stubs or later conversions – treat dates cautiously. RNS and RBS sessions appear 1999-2001 in the archive, overlapping with Cakewalk and ReBirth. Many WRK projects were later rescued to BUN, so modified timestamps can reflect recovery rather than creation. A few BUN files resurface in 2002 while Reason was already dominant, likely for long-form mix work in Cakewalk. Reason usage is steady up to roughly 2017. In September-October 2017 a relationship ended, and 2018 became a crisis year, leaving a large creative gap. Pauses continue 2018-2020/21, then a return, and finally a shift to Reason Studios 13 from 2022-11. Exploring genres and production Thomas's exploration of genres was not a simple list of influences but an evolving landscape. During the 1990s and 2000s he immersed himself in Jungle, Drum & Bass, techno, trance, and house, carefully dissecting the production techniques behind artists such as Andy C and Sub Focus from the Drum & Bass world. In the club scene, long‑standing figures like Fatboy Slim (first breaking through in the late 1980s with Beats International) and Carl Cox (already a leading name from the acid house era) stood out. Alongside them were house innovators such as the duo Masters at Work (Louie Vega and Kenny Dope), soon followed by Roger Sanchez, Armand Van Helden, and Daft Punk as the 1990s turned into the 2000s. While Frankie Knuckles is often cited as the godfather of house, his presence was more peripheral for Thomas personally – his stronger pull came later with the evolution into tech‑house, a hybrid style that combined minimal grooves with house energy. Black Box – first discovered on Max Mix vinyl compilations such as Max Mix 10 and Max Mix 11 – burned an unforgettable imprint in his memory. Those compilations, with their kaleidoscopic blends, taught him early lessons about rhythm, transition, and sampling. Many of these artists and sounds became recognizable only later, as he began memorizing and documenting names to avoid losing them again. A key memory was recording a melody he loved onto cassette, only to erase it by accident – a loss that later drove him to keep written records and eventually inspired the creation of his “Childhood of Doom” playlist. Parallel to this electronic foundation, he was also drawn to heavier, darker textures. Industrial and metal bands like Rammstein and Dimmu Borgir added a layer of aggression and atmosphere to his understanding of sound. This duality – intricate rhythm and bass on one side, distorted guitars and orchestral drama on the other – gave his productions a unique edge. As a result, Thomas never confined himself to one style. His archives show transitions between four-to-the-floor house sketches, breakbeat-driven experiments, atmospheric trance passages, and darker industrial-inspired edits. What held it together was a restless curiosity: each genre was less a destination and more a toolkit, expanding the possibilities of his own voice as a producer. Equally important are the club and rave classics that shaped his taste. These include Kim Appleby, M/A/R/R/S – “Pump Up the Volume”, L.A. Style – “James Brown Is Dead”, General Levy – “Incredible”, and the unstoppable energy of 2 Unlimited. He absorbed iconic tracks such as “Plastic Dreams”, the full Black Box catalogue, “Pump Up the Jam” and its countless successors, as well as material from U.S.U.R.A., Sonic Surfer, and Euro-rave mainstays like “Meet Her at the Love Parade” and Quadrophonia. This wave of Eurodance and rave music was not a background noise but a living school of sound design, arrangement, and energy. Another dimension of his exploration was the struggle to recover music that had slipped through the cracks of memory. Many tracks were heard only once on MTV or obscure satellite channels and never resurfaced again, sometimes preserved only on lost VHS tapes. One striking rediscovery came in 2025: System 7 – “Alpha Wave” (Plastikman Acid House Remix), a track he had originally caught only once through encrypted satellite frequencies. This rare find intertwined with his connection to 1FM, the station that would later become BBC Radio 1, cementing how fleeting signals and chance encounters could deeply mark his creative DNA. Alongside this electronic and rave-driven foundation, he also kept a fascination for Swedish dansband (such as Lasse Stefanz, Arvingarna, Vikingarna), the rapid growth of 1990s hip hop (boom bap styles, Public Enemy, Ice Cube), and the crossover world of DJ Supreme and club mix culture. Later years added Drill and Grime influences, showing that his musical lens stretched far beyond typical electronic boundaries. After 2021, his influences expanded dramatically. Artists such as Vlada Asanin, Anfisa Letyago, Deborah De Luca, Siwell, Riva Starr, Bob Sinclar, Shy FX, Chase & Status, DJ Burlak, Koven, Mob Tactics, Evol Intent, Mosimann, and Buju Banton became enormous markers in his musical direction. Old‑school names like The KLF, Jody Watley, Boney M., Salt N Pepa, Kim Appleby, Jerry Reed, and Doug Kershaw resurfaced as important nodes in his library. Norman Cook's Fatboy Slim legacy remained a cornerstone, and close collaborations and remixes, such as for Pete & Bas or even material from friends like Noilec, added a personal dimension. This combination of modern techno, bass music, hip hop, reggae, and classic pop reinforced his post‑2021 path as borderless and fearless. These were not just songs on the radio, but the building blocks of a personal creative DNA, forming a bridge between professional club culture and his own experiments in trackers and sequencers. Formalization – DJ career (from December 2021) After the end of a long relationship in late 2017, the idea of DJing slowly grew during the following years. What began as curiosity – partly triggered by hearing that his ex's new partner dabbled poorly in DJing – turned into late‑night searches for affordable controllers. By December 2021 he finally owned his first controller and began experimenting with mixing. During 2022 he upgraded from a DDJ‑400 to a Pioneer FLX‑10, aiming to go larger. Copyright warnings on early mixes, however, made him realize the importance of creating original material. Inspired by Koven's live sets and the control that comes from performing one's own productions, he decided in 2023 to return seriously to music production, subscribing again to Reason Studios and shifting focus toward house and drum & bass. The MINT Experiment – creative duo (2009-2017) and the revivals The MINT Experiment – a duo together with Ingela Karlsson (later Machuca Burgos, with whom Thomas shared a relationship between roughly 2003 and 2017). They first connected sometime in 2003 through Lunarstorm and similar channels (IRC), and after a few months of contact, according to logs, finally met in person on 21 November 2003, a few minutes after 19:28 (awkward isn’t it?). Their relationship developed quickly, with a move to Järna taking place between late 2003 and early 2004, followed by a move together to Klippan on 3 July 2004. These anchor points are useful for context but do not need all surrounding television event references. Their first musical collaboration was the track Bejeweled, produced in 2009 and released online on March 18, 2010. The song was later retitled Emily's Song in honor of their daughter (born October 2010) and formally released via Record Union in December 2013. Two more tracks, DNA and Witness, were produced but delayed due to personal circumstances and the duo's eventual split. Witness was finalized in August 2017, while DNA was released in December 2023. An updated version of Witness followed in April 2024. A personal remix, Bejeweled 3, was also produced as a dedication to his son, incorporating samples of his children's voices. This track symbolized a creative revival and was released in January 2023. Jessica Granqvist – a formative influence (from 2023) Amid the creative resurgence of 2023, Thomas also met Jessica Granqvist. Her impact on his life was profound, shaping his direction and giving him new energy at a time when his calendar was already packed with drag-of-war competitions and photography assignments. Despite the intensity of those commitments, Jessica's influence cut through and marked a new phase in both his personal and musical life. On 24 February 2022, Russia attacked Ukraine – the same date when Thomas and Jessica later became a couple. To avoid tying their anniversary to the memory of war, they decided to officially celebrate it on 26 February instead. This choice made their relationship anniversary not just personal, but also a symbolic rejection of conflict. Creative resurgence (2023 and forward) From 2023 onwards, Thomas entered a period of steady productivity. Releases like Bejeweled 3, DNA, and the updated Witness set the stage, and by 2024-2025 he was in a strong creative flow. Other works such as No 2024, the so‑called deep‑state tracks (Man in the Middle and Flurry Flute), and Anger Management may not have been his strongest productions, but they became important stepping stones. These tracks, made around 2022-2023, helped him test EDM structures and laid the groundwork for later, more refined productions. New projects spanned liquid drum & bass, remixes, experimental soundscapes, and playful works under Tornevalls Neural Ensemble, The Houseifyer and Rhythm Shifter. This period saw both volume and variety, proving that his return was more than a brief revival. Musical essays – style and purpose Thomas's approach to music has always been about pushing limits and defying categories. A very important point has always been that he makes music for himself - creating tracks he wants to listen to, regardless of trends or expectations. He blends genres freely, shifts between studio production and live performance, and alternates between solo work and collaborations. His drive to explore ranges from the earliest tracker modules to full DJ sets, touching house, techno, drum & bass, mashups and beyond. Just as important, his art is not only sound but also image - audio and visuals are inseparable in the way he expresses himself. Condensed timeline PeriodKey milestone1977-1990sChildhood inspiration – dance music, FastTracker 21990-2000Expanded production – Cakewalk, Reason2003-2017Relationship with Ingela, move to Järna & Klippan, MINT groundwork2009-2013MINT Experiment formed, first releases (Bejeweled/Emily's Song, early sketches leading to DNA and Witness) – and other solo releases.2017-2018Breakup and crisis year – major creative gap2021Official start as DJ-trainee2023Bejeweled 3, DNA, Anger Management and return to production. Also meeting Jessica Granqvist.2023-2025Renewed productivity and diverse projects (No 2024, deep-state tracks like Man in the Middle and Flurry Flute, Anger Management, and other experimental groundwork) Software timeline and early works PeriodSoftware / ToolsExample works (titles)Notes1993-2001FastTracker 1 & 2, ReBirth, Cakewalk (WRK/BUN)A lot of releases, that never saw the light. Some has, some has not. Most of it is kind-of-shitty.Transition from MODs in FT1 to XM handling in FT2 (introduced 1994). ReBirth used for synth/beat and Cakewalk for arranging, edits and longer mixes. WRK/BUN preserved parallel projects. Culmination of early tracker and sequencer era before Reason takeover.2001-2021Reason (RNS/RBS)Early Reason sessions (Aug 2001), through2 series, Elmstreet experimentsEarliest RBS backups dated 1997-10 (e.g. “Hata Frank” last edited 1997-11-13). Clear overlap 1999-2001 with Cakewalk/ReBirth. Reason used consistently until ~2017, then pauses 2018-2020/21. Mostly based on Reason 5 until transition.2009-2013Reason (RNS/RBS)Bejeweled (2010), Emily's Song (2013), early DNA drafts, early Witness draftsFirst official releases under MINT Experiment. Collaborative works with Ingela. Built foundation for later 2020s resurgence.2022 onwardReason Studios (v13 and beyond)Bejeweled 3 (2023), DNA (2023), Witness (2024), No 2024 (2022), Man in the Middle (2022), Flurry Flute (2022), Anger Management (2023), additional DJ-related sessionsTransition to Reason Studios after long-term use of older Reason (mainly v5) up to around 2020-2021. Renewed activity and integration
TITLE: Who is Thomas musically? DESCRIPTION: This is a timeline analysis of Thomas Tornevall and his musical path. Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched.... CONTENT: This is a timeline analysis of Thomas Tornevall and his musical path. Table of Contents Toggle Very early years and influences (1977-1990s)Exploring genres and productionFormalization – DJ career (from December 2021)The MINT Experiment – creative duo (2009-2017) and the revivalsJessica Granqvist – a formative influence (from 2023)Creative resurgence (2023 and forward)Musical essays – style and purposeCondensed timelineSoftware timeline and early works Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched. By the time he entered his teenage years, with a budget as poor as buying a used bicycle with no wheels, the SoundBlaster Pro 2 became the closest he could get to experiencing real sound. The wider Internet era for private users did not arrive until the early 1990s, when loopholes made it possible to access dial-up services outside universities, and this opened the way to trackers, BBS exchanges, and eventually FastTracker. According to old Super 8 home videos, Thomas was fascinated by music even before he could walk. While there is no clear record of the exact moment when music became more than just background sound, his parents often played cassettes and vinyl that caught his attention early. In the later years (during the 80s mostly, is a guess) he was exposed to Swedish dance band music, which formed a first layer of influence, even if his true musical direction was still unwritten. Until… Thomas’s sister Annelie introduced him to house and acid house music through one of her classmates (Totte, where are you?), most likely in the late 80s and early 90s. Annelie herself was deeply into music and often brought home fairly mainstream pop, though the exact details of her taste remain a bit unclear. What Thomas remembers is Madonna standing out vividly – so much so that he once even believed Madonna was actually a girl called “Cina”, interested in him. Radio and television also became important: the show “Tracks” on Sveriges Radio P3 offered exciting new sounds, and with satellite TV arriving at home, MTV became a constant source of inspiration. In particular, MTV Party Zone served as a major well of ideas. It was in the middle of this atmosphere that FastTracker entered the picture – the only tool he had access to for starting to create music. From there, early inspiration grew out of 1990s dance music – techno, rave, eurodance – combined with a passion for house and elements of world music. Archival notes on file dates (in the bottom tables): Earliest RBS backups are dated 1997-10 (for example, “Hata Frank” last edited 1997-11-13). These may be early Reason song/bank stubs or later conversions – treat dates cautiously. RNS and RBS sessions appear 1999-2001 in the archive, overlapping with Cakewalk and ReBirth. Many WRK projects were later rescued to BUN, so modified timestamps can reflect recovery rather than creation. A few BUN files resurface in 2002 while Reason was already dominant, likely for long-form mix work in Cakewalk. Reason usage is steady up to roughly 2017. In September-October 2017 a relationship ended, and 2018 became a crisis year, leaving a large creative gap. Pauses continue 2018-2020/21, then a return, and finally a shift to Reason Studios 13 from 2022-11. Exploring genres and production Thomas's exploration of genres was not a simple list of influences but an evolving landscape. During the 1990s and 2000s he immersed himself in Jungle, Drum & Bass, techno, trance, and house, carefully dissecting the production techniques behind artists such as Andy C and Sub Focus from the Drum & Bass world. In the club scene, long-standing figures like Fatboy Slim (first breaking through in the late 1980s with Beats International) and Carl Cox (already a leading name from the acid house era) stood out. Alongside them were house innovators such as the duo Masters at Work (Louie Vega and Kenny Dope), soon followed by Roger Sanchez, Armand Van Helden, and Daft Punk as the 1990s turned into the 2000s. While Frankie Knuckles is often cited as the godfather of house, his presence was more peripheral for Thomas personally – his stronger pull came later with the evolution into tech-house, a hybrid style that combined minimal grooves with house energy. Black Box – first discovered on Max Mix vinyl compilations such as Max Mix 10 and Max Mix 11 – burned an unforgettable imprint in his memory. Those compilations, with their kaleidoscopic blends, taught him early lessons about rhythm, transition, and sampling. Many of these artists and sounds became recognizable only later, as he began memorizing and documenting names to avoid losing them again. A key memory was recording a melody he loved onto cassette, only to erase it by accident – a loss that later drove him to keep written records and eventually inspired the creation of his “Childhood of Doom” playlist. Parallel to this electronic foundation, he was also drawn to heavier, darker textures. Industrial and metal bands like Rammstein and Dimmu Borgir added a layer of aggression and atmosphere to his understanding of sound. This duality – intricate rhythm and bass on one side, distorted guitars and orchestral drama on the other – gave his productions a unique edge. As a result, Thomas never confined himself to one style. His archives show transitions between four-to-the-floor house sketches, breakbeat-driven experiments, atmospheric trance passages, and darker industrial-inspired edits. What held it together was a restless curiosity: each genre was less a destination and more a toolkit, expanding the possibilities of his own voice as a producer. Equally important are the club and rave classics that shaped his taste. These include Kim Appleby, M/A/R/R/S – “Pump Up the Volume”, L.A. Style – “James Brown Is Dead”, General Levy – “Incredible”, and the unstoppable energy of 2 Unlimited. He absorbed iconic tracks such as “Plastic Dreams”, the full Black Box catalogue, “Pump Up the Jam” and its countless successors, as well as material from U.S.U.R.A., Sonic Surfer, and Euro-rave mainstays like “Meet Her at the Love Parade” and Quadrophonia. This wave of Eurodance and rave music was not a background noise but a living school of sound design, arrangement, and energy. Another dimension of his exploration was the struggle to recover music that had slipped through the cracks of memory. Many tracks were heard only once on MTV or obscure satellite channels and never resurfaced again, sometimes preserved only on lost VHS tapes. One striking rediscovery came in 2025: System 7 – “Alpha Wave” (Plastikman Acid House Remix), a track he had originally caught only once through encrypted satellite frequencies. This rare find intertwined with his connection to 1FM, the station that would later become BBC Radio 1, cementing how fleeting signals and chance encounters could deeply mark his creative DNA. Alongside this electronic and rave-driven foundation, he also kept a fascination for Swedish dansband (such as Lasse Stefanz, Arvingarna, Vikingarna), the rapid growth of 1990s hip hop (boom bap styles, Public Enemy, Ice Cube), and the crossover world of DJ Supreme and club mix culture. Later years added Drill and Grime influences, showing that his musical lens stretched far beyond typical electronic boundaries. After 2021, his influences expanded dramatically. Artists such as Vlada Asanin, Anfisa Letyago, Deborah De Luca, Siwell, Riva Starr, Bob Sinclar, Shy FX, Chase & Status, DJ Burlak, Koven, Mob Tactics, Evol Intent, Mosimann, and Buju Banton became enormous markers in his musical direction. Old-school names like The KLF, Jody Watley, Boney M., Salt N Pepa, Kim Appleby, Jerry Reed, and Doug Kershaw resurfaced as important nodes in his library. Norman Cook's Fatboy Slim legacy remained a cornerstone, and close collaborations and remixes, such as for Pete & Bas or even material from friends like Noilec, added a personal dimension. This combination of modern techno, bass music, hip hop, reggae, and classic pop reinforced his post-2021 path as borderless and fearless. These were not just songs on the radio, but the building blocks of a personal creative DNA, forming a bridge between professional club culture and his own experiments in trackers and sequencers. Formalization – DJ career (from December 2021) After the end of a long relationship in late 2017, the idea of DJing slowly grew during the following years. What began as curiosity – partly triggered by hearing that his ex's new partner dabbled poorly in DJing – turned into late-night searches for affordable controllers. By December 2021 he finally owned his first controller and began experimenting with mixing. During 2022 he upgraded from a DDJ-400 to a Pioneer FLX-10, aiming to go larger. Copyright warnings on early mixes, however, made him realize the importance of creating original material. Inspired by Koven's live sets and the control that comes from performing one's own productions, he decided in 2023 to return seriously to music production, subscribing again to Reason Studios and shifting focus toward house and drum & bass. The MINT Experiment – creative duo (2009-2017) and the revivals The MINT Experiment – a duo together with Ingela Karlsson (later Machuca Burgos, with whom Thomas shared a relationship between roughly 2003 and 2017). They first connected sometime in 2003 through Lunarstorm and similar channels (IRC), and after a few months of contact, according to logs, finally met in person on 21 November 2003, a few minutes after 19:28 (awkward isn’t it?). Their relationship developed quickly, with a move to Järna taking place between late 2003 and early 2004, followed by a move together to Klippan on 3 July 2004. These anchor points are useful for context but do not need all surrounding television event references. Their first musical collaboration was the track Bejeweled, produced in 2009 and released online on March 18, 2010. The song was later retitled Emily's Song in honor of their daughter (born October 2010) and formally released via Record Union in December 2013. Two more tracks, DNA and Witness, were produced but delayed due to personal circumstances and the duo's eventual split. Witness was finalized in August 2017, while DNA was released in December 2023. An updated version of Witness followed in April 2024. A personal remix, Bejeweled 3, was also produced as a dedication to his son, incorporating samples of his children's voices. This track symbolized a creative revival and was released in January 2023. Jessica Granqvist – a formative influence (from 2023) Amid the creative resurgence of 2023, Thomas also met Jessica Granqvist. Her impact on his life was profound, shaping his direction and giving him new energy at a time when his calendar was already packed with drag-of-war competitions and photography assignments. Despite the intensity of those commitments, Jessica's influence cut through and marked a new phase in both his personal and musical life. On 24 February 2022, Russia attacked Ukraine – the same date when Thomas and Jessica later became a couple. To avoid tying their anniversary to the memory of war, they decided to officially celebrate it on 26 February instead. This choice made their relationship anniversary not just personal, but also a symbolic rejection of conflict. Creative resurgence (2023 and forward) From 2023 onwards, Thomas entered a period of steady productivity. Releases like Bejeweled 3, DNA, and the updated Witness set the stage, and by 2024-2025 he was in a strong creative flow. Other works such as No 2024, the so-called deep-state tracks (Man in the Middle and Flurry Flute), and Anger Management may not have been his strongest productions, but they became important stepping stones. These tracks, made around 2022-2023, helped him test EDM structures and laid the groundwork for later, more refined productions. New projects spanned liquid drum & bass, remixes, experimental soundscapes, and playful works under Tornevalls Neural Ensemble, The Houseifyer and Rhythm Shifter. This period saw both volume and variety, proving that his return was more than a brief revival. Musical essays – style and purpose Thomas's approach to music has always been about pushing limits and defying categories. A very important point has always been that he makes music for himself - creating tracks he wants to listen to, regardless of trends or expectations. He blends genres freely, shifts between studio production and live performance, and alternates between solo work and collaborations. His drive to explore ranges from the earliest tracker modules to full DJ sets, touching house, techno, drum & bass, mashups and beyond. Just as important, his art is not only sound but also image - audio and visuals are inseparable in the way he expresses himself. Condensed timeline PeriodKey milestone1977-1990sChildhood inspiration – dance music, FastTracker 21990-2000Expanded production – Cakewalk, Reason2003-2017Relationship with Ingela, move to Järna & Klippan, MINT groundwork2009-2013MINT Experiment formed, first releases (Bejeweled/Emily's Song, early sketches leading to DNA and Witness) – and other solo releases.2017-2018Breakup and crisis year – major creative gap2021Official start as DJ-trainee2023Bejeweled 3, DNA, Anger Management and return to production. Also meeting Jessica Granqvist.2023-2025Renewed productivity and diverse projects (No 2024, deep-state tracks like Man in the Middle and Flurry Flute, Anger Management, and other experimental groundwork) Software timeline and early works PeriodSoftware / ToolsExample works (titles)Notes1993-2001FastTracker 1 & 2, ReBirth, Cakewalk (WRK/BUN)A lot of releases, that never saw the light. Some has, some has not. Most of it is kind-of-shitty.Transition from MODs in FT1 to XM handling in FT2 (introduced 1994). ReBirth used for synth/beat and Cakewalk for arranging, edits and longer mixes. WRK/BUN preserved parallel projects. Culmination of early tracker and sequencer era before Reason takeover.2001-2021Reason (RNS/RBS)Early Reason sessions (Aug 2001), through2 series, Elmstreet experimentsEarliest RBS backups dated 1997-10 (e.g. “Hata Frank” last edited 1997-11-13). Clear overlap 1999-2001 with Cakewalk/ReBirth. Reason used consistently until ~2017, then pauses 2018-2020/21. Mostly based on Reason 5 until transition.2009-2013Reason (RNS/RBS)Bejeweled (2010), Emily's Song (2013), early DNA drafts, early Witness draftsFirst official releases under MINT Experiment. Collaborative works with Ingela. Built foundation for later 2020s resurgence.2022 onwardReason Studios (v13 and beyond)Bejeweled 3 (2023), DNA (2023), Witness (2024), No 2024 (2022), Man in the Middle (2022), Flurry Flute (2022), Anger Management (2023), additional DJ-related sessionsTransition to Reason Studios after long-term use of older Reason (mainly v5) up to around 2020-2021. Renewed activity and integration
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2ee36ae839e7d731fecade2612ec7bc99df16600This is a timeline analysis of Thomas Tornevall and his musical path. Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched....
This is a timeline analysis of Thomas Tornevall and his musical path.
Table of Contents Toggle Very early years and influences (1977-1990s)Exploring genres and productionFormalization – DJ career (from December 2021)The MINT Experiment – creative duo (2009-2017) and the revivalsJessica Granqvist – a formative influence (from 2023)Creative resurgence (2023 and forward)Musical essays – style and purposeCondensed timelineSoftware timeline and early works Very early years and influences (1977-1990s)
Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched. By the time he entered his teenage years, with a budget as poor as buying a used bicycle with no wheels, the SoundBlaster Pro 2 became the closest he could get to experiencing real sound. The wider Internet era for private users did not arrive until the early 1990s, when loopholes made it possible to access dial‑up services outside universities, and this opened the way to trackers, BBS exchanges, and eventually FastTracker.
According to old Super 8 home videos, Thomas was fascinated by music even before he could walk. While there is no clear record of the exact moment when music became more than just background sound, his parents often played cassettes and vinyl that caught his attention early. In the later years (during the 80s mostly, is a guess) he was exposed to Swedish dance band music, which formed a first layer of influence, even if his true musical direction was still unwritten.
Until…
Thomas’s sister Annelie introduced him to house and acid house music through one of her classmates (Totte, where are you?), most likely in the late 80s and early 90s. Annelie herself was deeply into music and often brought home fairly mainstream pop, though the exact details of her taste remain a bit unclear. What Thomas remembers is Madonna standing out vividly – so much so that he once even believed Madonna was actually a girl called “Cina”, interested in him.
Radio and television also became important: the show “Tracks” on Sveriges Radio P3 offered exciting new sounds, and with satellite TV arriving at home, MTV became a constant source of inspiration. In particular, MTV Party Zone served as a major well of ideas.
It was in the middle of this atmosphere that FastTracker entered the picture – the only tool he had access to for starting to create music. From there, early inspiration grew out of 1990s dance music – techno, rave, eurodance – combined with a passion for house and elements of world music.
Archival notes on file dates (in the bottom tables):
Earliest RBS backups are dated 1997-10 (for example, “Hata Frank” last edited 1997-11-13). These may be early Reason song/bank stubs or later conversions – treat dates cautiously.
RNS and RBS sessions appear 1999-2001 in the archive, overlapping with Cakewalk and ReBirth. Many WRK projects were later rescued to BUN, so modified timestamps can reflect recovery rather than creation.
A few BUN files resurface in 2002 while Reason was already dominant, likely for long-form mix work in Cakewalk.
Reason usage is steady up to roughly 2017. In September-October 2017 a relationship ended, and 2018 became a crisis year, leaving a large creative gap. Pauses continue 2018-2020/21, then a return, and finally a shift to Reason Studios 13 from 2022-11.
Exploring genres and production
Thomas's exploration of genres was not a simple list of influences but an evolving landscape. During the 1990s and 2000s he immersed himself in Jungle, Drum & Bass, techno, trance, and house, carefully dissecting the production techniques behind artists such as Andy C and Sub Focus from the Drum & Bass world. In the club scene, long‑standing figures like Fatboy Slim (first breaking through in the late 1980s with Beats International) and Carl Cox (already a leading name from the acid house era) stood out. Alongside them were house innovators such as the duo Masters at Work (Louie Vega and Kenny Dope), soon followed by Roger Sanchez, Armand Van Helden, and Daft Punk as the 1990s turned into the 2000s. While Frankie Knuckles is often cited as the godfather of house, his presence was more peripheral for Thomas personally – his stronger pull came later with the evolution into tech‑house, a hybrid style that combined minimal grooves with house energy.
Black Box – first discovered on Max Mix vinyl compilations such as Max Mix 10 and Max Mix 11 – burned an unforgettable imprint in his memory. Those compilations, with their kaleidoscopic blends, taught him early lessons about rhythm, transition, and sampling. Many of these artists and sounds became recognizable only later, as he began memorizing and documenting names to avoid losing them again. A key memory was recording a melody he loved onto cassette, only to erase it by accident – a loss that later drove him to keep written records and eventually inspired the creation of his “Childhood of Doom” playlist.
Parallel to this electronic foundation, he was also drawn to heavier, darker textures. Industrial and metal bands like Rammstein and Dimmu Borgir added a layer of aggression and atmosphere to his understanding of sound. This duality – intricate rhythm and bass on one side, distorted guitars and orchestral drama on the other – gave his productions a unique edge.
As a result, Thomas never confined himself to one style. His archives show transitions between four-to-the-floor house sketches, breakbeat-driven experiments, atmospheric trance passages, and darker industrial-inspired edits. What held it together was a restless curiosity: each genre was less a destination and more a toolkit, expanding the possibilities of his own voice as a producer.
Equally important are the club and rave classics that shaped his taste. These include Kim Appleby, M/A/R/R/S – “Pump Up the Volume”, L.A. Style – “James Brown Is Dead”, General Levy – “Incredible”, and the unstoppable energy of 2 Unlimited. He absorbed iconic tracks such as “Plastic Dreams”, the full Black Box catalogue, “Pump Up the Jam” and its countless successors, as well as material from U.S.U.R.A., Sonic Surfer, and Euro-rave mainstays like “Meet Her at the Love Parade” and Quadrophonia. This wave of Eurodance and rave music was not a background noise but a living school of sound design, arrangement, and energy.
Another dimension of his exploration was the struggle to recover music that had slipped through the cracks of memory. Many tracks were heard only once on MTV or obscure satellite channels and never resurfaced again, sometimes preserved only on lost VHS tapes. One striking rediscovery came in 2025: System 7 – “Alpha Wave” (Plastikman Acid House Remix), a track he had originally caught only once through encrypted satellite frequencies. This rare find intertwined with his connection to 1FM, the station that would later become BBC Radio 1, cementing how fleeting signals and chance encounters could deeply mark his creative DNA.
Alongside this electronic and rave-driven foundation, he also kept a fascination for Swedish dansband (such as Lasse Stefanz, Arvingarna, Vikingarna), the rapid growth of 1990s hip hop (boom bap styles, Public Enemy, Ice Cube), and the crossover world of DJ Supreme and club mix culture. Later years added Drill and Grime influences, showing that his musical lens stretched far beyond typical electronic boundaries.
After 2021, his influences expanded dramatically. Artists such as Vlada Asanin, Anfisa Letyago, Deborah De Luca, Siwell, Riva Starr, Bob Sinclar, Shy FX, Chase & Status, DJ Burlak, Koven, Mob Tactics, Evol Intent, Mosimann, and Buju Banton became enormous markers in his musical direction. Old‑school names like The KLF, Jody Watley, Boney M., Salt N Pepa, Kim Appleby, Jerry Reed, and Doug Kershaw resurfaced as important nodes in his library. Norman Cook's Fatboy Slim legacy remained a cornerstone, and close collaborations and remixes, such as for Pete & Bas or even material from friends like Noilec, added a personal dimension. This combination of modern techno, bass music, hip hop, reggae, and classic pop reinforced his post‑2021 path as borderless and fearless.
These were not just songs on the radio, but the building blocks of a personal creative DNA, forming a bridge between professional club culture and his own experiments in trackers and sequencers.
Formalization – DJ career (from December 2021)
After the end of a long relationship in late 2017, the idea of DJing slowly grew during the following years. What began as curiosity – partly triggered by hearing that his ex's new partner dabbled poorly in DJing – turned into late‑night searches for affordable controllers. By December 2021 he finally owned his first controller and began experimenting with mixing. During 2022 he upgraded from a DDJ‑400 to a Pioneer FLX‑10, aiming to go larger. Copyright warnings on early mixes, however, made him realize the importance of creating original material. Inspired by Koven's live sets and the control that comes from performing one's own productions, he decided in 2023 to return seriously to music production, subscribing again to Reason Studios and shifting focus toward house and drum & bass.
The MINT Experiment – creative duo (2009-2017) and the revivals
The MINT Experiment – a duo together with Ingela Karlsson (later Machuca Burgos, with whom Thomas shared a relationship between roughly 2003 and 2017). They first connected sometime in 2003 through Lunarstorm and similar channels (IRC), and after a few months of contact, according to logs, finally met in person on 21 November 2003, a few minutes after 19:28 (awkward isn’t it?). Their relationship developed quickly, with a move to Järna taking place between late 2003 and early 2004, followed by a move together to Klippan on 3 July 2004. These anchor points are useful for context but do not need all surrounding television event references.
Their first musical collaboration was the track Bejeweled, produced in 2009 and released online on March 18, 2010. The song was later retitled Emily's Song in honor of their daughter (born October 2010) and formally released via Record Union in December 2013.
Two more tracks, DNA and Witness, were produced but delayed due to personal circumstances and the duo's eventual split. Witness was finalized in August 2017, while DNA was released in December 2023. An updated version of Witness followed in April 2024.
A personal remix, Bejeweled 3, was also produced as a dedication to his son, incorporating samples of his children's voices. This track symbolized a creative revival and was released in January 2023.
Jessica Granqvist – a formative influence (from 2023)
Amid the creative resurgence of 2023, Thomas also met Jessica Granqvist. Her impact on his life was profound, shaping his direction and giving him new energy at a time when his calendar was already packed with drag-of-war competitions and photography assignments. Despite the intensity of those commitments, Jessica's influence cut through and marked a new phase in both his personal and musical life.
On 24 February 2022, Russia attacked Ukraine – the same date when Thomas and Jessica later became a couple. To avoid tying their anniversary to the memory of war, they decided to officially celebrate it on 26 February instead. This choice made their relationship anniversary not just personal, but also a symbolic rejection of conflict.
Creative resurgence (2023 and forward)
From 2023 onwards, Thomas entered a period of steady productivity. Releases like Bejeweled 3, DNA, and the updated Witness set the stage, and by 2024-2025 he was in a strong creative flow. Other works such as No 2024, the so‑called deep‑state tracks (Man in the Middle and Flurry Flute), and Anger Management may not have been his strongest productions, but they became important stepping stones. These tracks, made around 2022-2023, helped him test EDM structures and laid the groundwork for later, more refined productions.
New projects spanned liquid drum & bass, remixes, experimental soundscapes, and playful works under Tornevalls Neural Ensemble, The Houseifyer and Rhythm Shifter. This period saw both volume and variety, proving that his return was more than a brief revival.
Musical essays – style and purpose
Thomas's approach to music has always been about pushing limits and defying categories. A very important point has always been that he makes music for himself - creating tracks he wants to listen to, regardless of trends or expectations. He blends genres freely, shifts between studio production and live performance, and alternates between solo work and collaborations. His drive to explore ranges from the earliest tracker modules to full DJ sets, touching house, techno, drum & bass, mashups and beyond. Just as important, his art is not only sound but also image - audio and visuals are inseparable in the way he expresses himself.
Condensed timeline
PeriodKey milestone1977-1990sChildhood inspiration – dance music, FastTracker 21990-2000Expanded production – Cakewalk, Reason2003-2017Relationship with Ingela, move to Järna & Klippan, MINT groundwork2009-2013MINT Experiment formed, first releases (Bejeweled/Emily's Song, early sketches leading to DNA and Witness) – and other solo releases.2017-2018Breakup and crisis year – major creative gap2021Official start as DJ-trainee2023Bejeweled 3, DNA, Anger Management and return to production. Also meeting Jessica Granqvist.2023-2025Renewed productivity and diverse projects (No 2024, deep-state tracks like Man in the Middle and Flurry Flute, Anger Management, and other experimental groundwork)
Software timeline and early works
PeriodSoftware / ToolsExample works (titles)Notes1993-2001FastTracker 1 & 2, ReBirth, Cakewalk (WRK/BUN)A lot of releases, that never saw the light. Some has, some has not. Most of it is kind-of-shitty.Transition from MODs in FT1 to XM handling in FT2 (introduced 1994). ReBirth used for synth/beat and Cakewalk for arranging, edits and longer mixes. WRK/BUN preserved parallel projects. Culmination of early tracker and sequencer era before Reason takeover.2001-2021Reason (RNS/RBS)Early Reason sessions (Aug 2001), through2 series, Elmstreet experimentsEarliest RBS backups dated 1997-10 (e.g. “Hata Frank” last edited 1997-11-13). Clear overlap 1999-2001 with Cakewalk/ReBirth. Reason used consistently until ~2017, then pauses 2018-2020/21. Mostly based on Reason 5 until transition.2009-2013Reason (RNS/RBS)Bejeweled (2010), Emily's Song (2013), early DNA drafts, early Witness draftsFirst official releases under MINT Experiment. Collaborative works with Ingela. Built foundation for later 2020s resurgence.2022 onwardReason Studios (v13 and beyond)Bejeweled 3 (2023), DNA (2023), Witness (2024), No 2024 (2022), Man in the Middle (2022), Flurry Flute (2022), Anger Management (2023), additional DJ-related sessionsTransition to Reason Studios after long-term use of older Reason (mainly v5) up to around 2020-2021. Renewed activity and integration
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TITLE: Who is Thomas musically? DESCRIPTION: This is a timeline analysis of Thomas Tornevall and his musical path. Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched.... CONTENT: This is a timeline analysis of Thomas Tornevall and his musical path. Table of Contents Toggle Very early years and influences (1977-1990s)Exploring genres and productionFormalization – DJ career (from December 2021)The MINT Experiment – creative duo (2009-2017) and the revivalsJessica Granqvist – a formative influence (from 2023)Creative resurgence (2023 and forward)Musical essays – style and purposeCondensed timelineSoftware timeline and early works Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched. By the time he entered his teenage years, with a budget as poor as buying a used bicycle with no wheels, the SoundBlaster Pro 2 became the closest he could get to experiencing real sound. The wider Internet era for private users did not arrive until the early 1990s, when loopholes made it possible to access dial‑up services outside universities, and this opened the way to trackers, BBS exchanges, and eventually FastTracker. According to old Super 8 home videos, Thomas was fascinated by music even before he could walk. While there is no clear record of the exact moment when music became more than just background sound, his parents often played cassettes and vinyl that caught his attention early. In the later years (during the 80s mostly, is a guess) he was exposed to Swedish dance band music, which formed a first layer of influence, even if his true musical direction was still unwritten. Until… Thomas’s sister Annelie introduced him to house and acid house music through one of her classmates (Totte, where are you?), most likely in the late 80s and early 90s. Annelie herself was deeply into music and often brought home fairly mainstream pop, though the exact details of her taste remain a bit unclear. What Thomas remembers is Madonna standing out vividly – so much so that he once even believed Madonna was actually a girl called “Cina”, interested in him. Radio and television also became important: the show “Tracks” on Sveriges Radio P3 offered exciting new sounds, and with satellite TV arriving at home, MTV became a constant source of inspiration. In particular, MTV Party Zone served as a major well of ideas. It was in the middle of this atmosphere that FastTracker entered the picture – the only tool he had access to for starting to create music. From there, early inspiration grew out of 1990s dance music – techno, rave, eurodance – combined with a passion for house and elements of world music. Archival notes on file dates (in the bottom tables): Earliest RBS backups are dated 1997-10 (for example, “Hata Frank” last edited 1997-11-13). These may be early Reason song/bank stubs or later conversions – treat dates cautiously. RNS and RBS sessions appear 1999-2001 in the archive, overlapping with Cakewalk and ReBirth. Many WRK projects were later rescued to BUN, so modified timestamps can reflect recovery rather than creation. A few BUN files resurface in 2002 while Reason was already dominant, likely for long-form mix work in Cakewalk. Reason usage is steady up to roughly 2017. In September-October 2017 a relationship ended, and 2018 became a crisis year, leaving a large creative gap. Pauses continue 2018-2020/21, then a return, and finally a shift to Reason Studios 13 from 2022-11. Exploring genres and production Thomas's exploration of genres was not a simple list of influences but an evolving landscape. During the 1990s and 2000s he immersed himself in Jungle, Drum & Bass, techno, trance, and house, carefully dissecting the production techniques behind artists such as Andy C and Sub Focus from the Drum & Bass world. In the club scene, long‑standing figures like Fatboy Slim (first breaking through in the late 1980s with Beats International) and Carl Cox (already a leading name from the acid house era) stood out. Alongside them were house innovators such as the duo Masters at Work (Louie Vega and Kenny Dope), soon followed by Roger Sanchez, Armand Van Helden, and Daft Punk as the 1990s turned into the 2000s. While Frankie Knuckles is often cited as the godfather of house, his presence was more peripheral for Thomas personally – his stronger pull came later with the evolution into tech‑house, a hybrid style that combined minimal grooves with house energy. Black Box – first discovered on Max Mix vinyl compilations such as Max Mix 10 and Max Mix 11 – burned an unforgettable imprint in his memory. Those compilations, with their kaleidoscopic blends, taught him early lessons about rhythm, transition, and sampling. Many of these artists and sounds became recognizable only later, as he began memorizing and documenting names to avoid losing them again. A key memory was recording a melody he loved onto cassette, only to erase it by accident – a loss that later drove him to keep written records and eventually inspired the creation of his “Childhood of Doom” playlist. Parallel to this electronic foundation, he was also drawn to heavier, darker textures. Industrial and metal bands like Rammstein and Dimmu Borgir added a layer of aggression and atmosphere to his understanding of sound. This duality – intricate rhythm and bass on one side, distorted guitars and orchestral drama on the other – gave his productions a unique edge. As a result, Thomas never confined himself to one style. His archives show transitions between four-to-the-floor house sketches, breakbeat-driven experiments, atmospheric trance passages, and darker industrial-inspired edits. What held it together was a restless curiosity: each genre was less a destination and more a toolkit, expanding the possibilities of his own voice as a producer. Equally important are the club and rave classics that shaped his taste. These include Kim Appleby, M/A/R/R/S – “Pump Up the Volume”, L.A. Style – “James Brown Is Dead”, General Levy – “Incredible”, and the unstoppable energy of 2 Unlimited. He absorbed iconic tracks such as “Plastic Dreams”, the full Black Box catalogue, “Pump Up the Jam” and its countless successors, as well as material from U.S.U.R.A., Sonic Surfer, and Euro-rave mainstays like “Meet Her at the Love Parade” and Quadrophonia. This wave of Eurodance and rave music was not a background noise but a living school of sound design, arrangement, and energy. Another dimension of his exploration was the struggle to recover music that had slipped through the cracks of memory. Many tracks were heard only once on MTV or obscure satellite channels and never resurfaced again, sometimes preserved only on lost VHS tapes. One striking rediscovery came in 2025: System 7 – “Alpha Wave” (Plastikman Acid House Remix), a track he had originally caught only once through encrypted satellite frequencies. This rare find intertwined with his connection to 1FM, the station that would later become BBC Radio 1, cementing how fleeting signals and chance encounters could deeply mark his creative DNA. Alongside this electronic and rave-driven foundation, he also kept a fascination for Swedish dansband (such as Lasse Stefanz, Arvingarna, Vikingarna), the rapid growth of 1990s hip hop (boom bap styles, Public Enemy, Ice Cube), and the crossover world of DJ Supreme and club mix culture. Later years added Drill and Grime influences, showing that his musical lens stretched far beyond typical electronic boundaries. After 2021, his influences expanded dramatically. Artists such as Vlada Asanin, Anfisa Letyago, Deborah De Luca, Siwell, Riva Starr, Bob Sinclar, Shy FX, Chase & Status, DJ Burlak, Koven, Mob Tactics, Evol Intent, Mosimann, and Buju Banton became enormous markers in his musical direction. Old‑school names like The KLF, Jody Watley, Boney M., Salt N Pepa, Kim Appleby, Jerry Reed, and Doug Kershaw resurfaced as important nodes in his library. Norman Cook's Fatboy Slim legacy remained a cornerstone, and close collaborations and remixes, such as for Pete & Bas or even material from friends like Noilec, added a personal dimension. This combination of modern techno, bass music, hip hop, reggae, and classic pop reinforced his post‑2021 path as borderless and fearless. These were not just songs on the radio, but the building blocks of a personal creative DNA, forming a bridge between professional club culture and his own experiments in trackers and sequencers. Formalization – DJ career (from December 2021) After the end of a long relationship in late 2017, the idea of DJing slowly grew during the following years. What began as curiosity – partly triggered by hearing that his ex's new partner dabbled poorly in DJing – turned into late‑night searches for affordable controllers. By December 2021 he finally owned his first controller and began experimenting with mixing. During 2022 he upgraded from a DDJ‑400 to a Pioneer FLX‑10, aiming to go larger. Copyright warnings on early mixes, however, made him realize the importance of creating original material. Inspired by Koven's live sets and the control that comes from performing one's own productions, he decided in 2023 to return seriously to music production, subscribing again to Reason Studios and shifting focus toward house and drum & bass. The MINT Experiment – creative duo (2009-2017) and the revivals The MINT Experiment – a duo together with Ingela Karlsson (later Machuca Burgos, with whom Thomas shared a relationship between roughly 2003 and 2017). They first connected sometime in 2003 through Lunarstorm and similar channels (IRC), and after a few months of contact, according to logs, finally met in person on 21 November 2003, a few minutes after 19:28 (awkward isn’t it?). Their relationship developed quickly, with a move to Järna taking place between late 2003 and early 2004, followed by a move together to Klippan on 3 July 2004. These anchor points are useful for context but do not need all surrounding television event references. Their first musical collaboration was the track Bejeweled, produced in 2009 and released online on March 18, 2010. The song was later retitled Emily's Song in honor of their daughter (born October 2010) and formally released via Record Union in December 2013. Two more tracks, DNA and Witness, were produced but delayed due to personal circumstances and the duo's eventual split. Witness was finalized in August 2017, while DNA was released in December 2023. An updated version of Witness followed in April 2024. A personal remix, Bejeweled 3, was also produced as a dedication to his son, incorporating samples of his children's voices. This track symbolized a creative revival and was released in January 2023. Jessica Granqvist – a formative influence (from 2023) Amid the creative resurgence of 2023, Thomas also met Jessica Granqvist. Her impact on his life was profound, shaping his direction and giving him new energy at a time when his calendar was already packed with drag-of-war competitions and photography assignments. Despite the intensity of those commitments, Jessica's influence cut through and marked a new phase in both his personal and musical life. On 24 February 2022, Russia attacked Ukraine – the same date when Thomas and Jessica later became a couple. To avoid tying their anniversary to the memory of war, they decided to officially celebrate it on 26 February instead. This choice made their relationship anniversary not just personal, but also a symbolic rejection of conflict. Creative resurgence (2023 and forward) From 2023 onwards, Thomas entered a period of steady productivity. Releases like Bejeweled 3, DNA, and the updated Witness set the stage, and by 2024-2025 he was in a strong creative flow. Other works such as No 2024, the so‑called deep‑state tracks (Man in the Middle and Flurry Flute), and Anger Management may not have been his strongest productions, but they became important stepping stones. These tracks, made around 2022-2023, helped him test EDM structures and laid the groundwork for later, more refined productions. New projects spanned liquid drum & bass, remixes, experimental soundscapes, and playful works under Tornevalls Neural Ensemble, The Houseifyer and Rhythm Shifter. This period saw both volume and variety, proving that his return was more than a brief revival. Musical essays – style and purpose Thomas's approach to music has always been about pushing limits and defying categories. A very important point has always been that he makes music for himself - creating tracks he wants to listen to, regardless of trends or expectations. He blends genres freely, shifts between studio production and live performance, and alternates between solo work and collaborations. His drive to explore ranges from the earliest tracker modules to full DJ sets, touching house, techno, drum & bass, mashups and beyond. Just as important, his art is not only sound but also image - audio and visuals are inseparable in the way he expresses himself. Condensed timeline PeriodKey milestone1977-1990sChildhood inspiration – dance music, FastTracker 21990-2000Expanded production – Cakewalk, Reason2003-2017Relationship with Ingela, move to Järna & Klippan, MINT groundwork2009-2013MINT Experiment formed, first releases (Bejeweled/Emily's Song, early sketches leading to DNA and Witness) – and other solo releases.2017-2018Breakup and crisis year – major creative gap2021Official start as DJ-trainee2023Bejeweled 3, DNA, Anger Management and return to production. Also meeting Jessica Granqvist.2023-2025Renewed productivity and diverse projects (No 2024, deep-state tracks like Man in the Middle and Flurry Flute, Anger Management, and other experimental groundwork) Software timeline and early works PeriodSoftware / ToolsExample works (titles)Notes1993-2001FastTracker 1 & 2, ReBirth, Cakewalk (WRK/BUN)A lot of releases, that never saw the light. Some has, some has not. Most of it is kind-of-shitty.Transition from MODs in FT1 to XM handling in FT2 (introduced 1994). ReBirth used for synth/beat and Cakewalk for arranging, edits and longer mixes. WRK/BUN preserved parallel projects. Culmination of early tracker and sequencer era before Reason takeover.2001-2021Reason (RNS/RBS)Early Reason sessions (Aug 2001), through2 series, Elmstreet experimentsEarliest RBS backups dated 1997-10 (e.g. “Hata Frank” last edited 1997-11-13). Clear overlap 1999-2001 with Cakewalk/ReBirth. Reason used consistently until ~2017, then pauses 2018-2020/21. Mostly based on Reason 5 until transition.2009-2013Reason (RNS/RBS)Bejeweled (2010), Emily's Song (2013), early DNA drafts, early Witness draftsFirst official releases under MINT Experiment. Collaborative works with Ingela. Built foundation for later 2020s resurgence.2022 onwardReason Studios (v13 and beyond)Bejeweled 3 (2023), DNA (2023), Witness (2024), No 2024 (2022), Man in the Middle (2022), Flurry Flute (2022), Anger Management (2023), additional DJ-related sessionsTransition to Reason Studios after long-term use of older Reason (mainly v5) up to around 2020-2021. Renewed activity and integration
TITLE: Who is Thomas musically? DESCRIPTION: This is a timeline analysis of Thomas Tornevall and his musical path. Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched.... CONTENT: This is a timeline analysis of Thomas Tornevall and his musical path. Table of Contents Toggle Very early years and influences (1977-1990s)Exploring genres and productionFormalization – DJ career (from December 2021)The MINT Experiment – creative duo (2009-2017) and the revivalsJessica Granqvist – a formative influence (from 2023)Creative resurgence (2023 and forward)Musical essays – style and purposeCondensed timelineSoftware timeline and early works Very early years and influences (1977-1990s) Thomas was born in 1977, growing up in an era when home computing was still in its infancy rather than fully launched. By the time he entered his teenage years, with a budget as poor as buying a used bicycle with no wheels, the SoundBlaster Pro 2 became the closest he could get to experiencing real sound. The wider Internet era for private users did not arrive until the early 1990s, when loopholes made it possible to access dial-up services outside universities, and this opened the way to trackers, BBS exchanges, and eventually FastTracker. According to old Super 8 home videos, Thomas was fascinated by music even before he could walk. While there is no clear record of the exact moment when music became more than just background sound, his parents often played cassettes and vinyl that caught his attention early. In the later years (during the 80s mostly, is a guess) he was exposed to Swedish dance band music, which formed a first layer of influence, even if his true musical direction was still unwritten. Until… Thomas’s sister Annelie introduced him to house and acid house music through one of her classmates (Totte, where are you?), most likely in the late 80s and early 90s. Annelie herself was deeply into music and often brought home fairly mainstream pop, though the exact details of her taste remain a bit unclear. What Thomas remembers is Madonna standing out vividly – so much so that he once even believed Madonna was actually a girl called “Cina”, interested in him. Radio and television also became important: the show “Tracks” on Sveriges Radio P3 offered exciting new sounds, and with satellite TV arriving at home, MTV became a constant source of inspiration. In particular, MTV Party Zone served as a major well of ideas. It was in the middle of this atmosphere that FastTracker entered the picture – the only tool he had access to for starting to create music. From there, early inspiration grew out of 1990s dance music – techno, rave, eurodance – combined with a passion for house and elements of world music. Archival notes on file dates (in the bottom tables): Earliest RBS backups are dated 1997-10 (for example, “Hata Frank” last edited 1997-11-13). These may be early Reason song/bank stubs or later conversions – treat dates cautiously. RNS and RBS sessions appear 1999-2001 in the archive, overlapping with Cakewalk and ReBirth. Many WRK projects were later rescued to BUN, so modified timestamps can reflect recovery rather than creation. A few BUN files resurface in 2002 while Reason was already dominant, likely for long-form mix work in Cakewalk. Reason usage is steady up to roughly 2017. In September-October 2017 a relationship ended, and 2018 became a crisis year, leaving a large creative gap. Pauses continue 2018-2020/21, then a return, and finally a shift to Reason Studios 13 from 2022-11. Exploring genres and production Thomas's exploration of genres was not a simple list of influences but an evolving landscape. During the 1990s and 2000s he immersed himself in Jungle, Drum & Bass, techno, trance, and house, carefully dissecting the production techniques behind artists such as Andy C and Sub Focus from the Drum & Bass world. In the club scene, long-standing figures like Fatboy Slim (first breaking through in the late 1980s with Beats International) and Carl Cox (already a leading name from the acid house era) stood out. Alongside them were house innovators such as the duo Masters at Work (Louie Vega and Kenny Dope), soon followed by Roger Sanchez, Armand Van Helden, and Daft Punk as the 1990s turned into the 2000s. While Frankie Knuckles is often cited as the godfather of house, his presence was more peripheral for Thomas personally – his stronger pull came later with the evolution into tech-house, a hybrid style that combined minimal grooves with house energy. Black Box – first discovered on Max Mix vinyl compilations such as Max Mix 10 and Max Mix 11 – burned an unforgettable imprint in his memory. Those compilations, with their kaleidoscopic blends, taught him early lessons about rhythm, transition, and sampling. Many of these artists and sounds became recognizable only later, as he began memorizing and documenting names to avoid losing them again. A key memory was recording a melody he loved onto cassette, only to erase it by accident – a loss that later drove him to keep written records and eventually inspired the creation of his “Childhood of Doom” playlist. Parallel to this electronic foundation, he was also drawn to heavier, darker textures. Industrial and metal bands like Rammstein and Dimmu Borgir added a layer of aggression and atmosphere to his understanding of sound. This duality – intricate rhythm and bass on one side, distorted guitars and orchestral drama on the other – gave his productions a unique edge. As a result, Thomas never confined himself to one style. His archives show transitions between four-to-the-floor house sketches, breakbeat-driven experiments, atmospheric trance passages, and darker industrial-inspired edits. What held it together was a restless curiosity: each genre was less a destination and more a toolkit, expanding the possibilities of his own voice as a producer. Equally important are the club and rave classics that shaped his taste. These include Kim Appleby, M/A/R/R/S – “Pump Up the Volume”, L.A. Style – “James Brown Is Dead”, General Levy – “Incredible”, and the unstoppable energy of 2 Unlimited. He absorbed iconic tracks such as “Plastic Dreams”, the full Black Box catalogue, “Pump Up the Jam” and its countless successors, as well as material from U.S.U.R.A., Sonic Surfer, and Euro-rave mainstays like “Meet Her at the Love Parade” and Quadrophonia. This wave of Eurodance and rave music was not a background noise but a living school of sound design, arrangement, and energy. Another dimension of his exploration was the struggle to recover music that had slipped through the cracks of memory. Many tracks were heard only once on MTV or obscure satellite channels and never resurfaced again, sometimes preserved only on lost VHS tapes. One striking rediscovery came in 2025: System 7 – “Alpha Wave” (Plastikman Acid House Remix), a track he had originally caught only once through encrypted satellite frequencies. This rare find intertwined with his connection to 1FM, the station that would later become BBC Radio 1, cementing how fleeting signals and chance encounters could deeply mark his creative DNA. Alongside this electronic and rave-driven foundation, he also kept a fascination for Swedish dansband (such as Lasse Stefanz, Arvingarna, Vikingarna), the rapid growth of 1990s hip hop (boom bap styles, Public Enemy, Ice Cube), and the crossover world of DJ Supreme and club mix culture. Later years added Drill and Grime influences, showing that his musical lens stretched far beyond typical electronic boundaries. After 2021, his influences expanded dramatically. Artists such as Vlada Asanin, Anfisa Letyago, Deborah De Luca, Siwell, Riva Starr, Bob Sinclar, Shy FX, Chase & Status, DJ Burlak, Koven, Mob Tactics, Evol Intent, Mosimann, and Buju Banton became enormous markers in his musical direction. Old-school names like The KLF, Jody Watley, Boney M., Salt N Pepa, Kim Appleby, Jerry Reed, and Doug Kershaw resurfaced as important nodes in his library. Norman Cook's Fatboy Slim legacy remained a cornerstone, and close collaborations and remixes, such as for Pete & Bas or even material from friends like Noilec, added a personal dimension. This combination of modern techno, bass music, hip hop, reggae, and classic pop reinforced his post-2021 path as borderless and fearless. These were not just songs on the radio, but the building blocks of a personal creative DNA, forming a bridge between professional club culture and his own experiments in trackers and sequencers. Formalization – DJ career (from December 2021) After the end of a long relationship in late 2017, the idea of DJing slowly grew during the following years. What began as curiosity – partly triggered by hearing that his ex's new partner dabbled poorly in DJing – turned into late-night searches for affordable controllers. By December 2021 he finally owned his first controller and began experimenting with mixing. During 2022 he upgraded from a DDJ-400 to a Pioneer FLX-10, aiming to go larger. Copyright warnings on early mixes, however, made him realize the importance of creating original material. Inspired by Koven's live sets and the control that comes from performing one's own productions, he decided in 2023 to return seriously to music production, subscribing again to Reason Studios and shifting focus toward house and drum & bass. The MINT Experiment – creative duo (2009-2017) and the revivals The MINT Experiment – a duo together with Ingela Karlsson (later Machuca Burgos, with whom Thomas shared a relationship between roughly 2003 and 2017). They first connected sometime in 2003 through Lunarstorm and similar channels (IRC), and after a few months of contact, according to logs, finally met in person on 21 November 2003, a few minutes after 19:28 (awkward isn’t it?). Their relationship developed quickly, with a move to Järna taking place between late 2003 and early 2004, followed by a move together to Klippan on 3 July 2004. These anchor points are useful for context but do not need all surrounding television event references. Their first musical collaboration was the track Bejeweled, produced in 2009 and released online on March 18, 2010. The song was later retitled Emily's Song in honor of their daughter (born October 2010) and formally released via Record Union in December 2013. Two more tracks, DNA and Witness, were produced but delayed due to personal circumstances and the duo's eventual split. Witness was finalized in August 2017, while DNA was released in December 2023. An updated version of Witness followed in April 2024. A personal remix, Bejeweled 3, was also produced as a dedication to his son, incorporating samples of his children's voices. This track symbolized a creative revival and was released in January 2023. Jessica Granqvist – a formative influence (from 2023) Amid the creative resurgence of 2023, Thomas also met Jessica Granqvist. Her impact on his life was profound, shaping his direction and giving him new energy at a time when his calendar was already packed with drag-of-war competitions and photography assignments. Despite the intensity of those commitments, Jessica's influence cut through and marked a new phase in both his personal and musical life. On 24 February 2022, Russia attacked Ukraine – the same date when Thomas and Jessica later became a couple. To avoid tying their anniversary to the memory of war, they decided to officially celebrate it on 26 February instead. This choice made their relationship anniversary not just personal, but also a symbolic rejection of conflict. Creative resurgence (2023 and forward) From 2023 onwards, Thomas entered a period of steady productivity. Releases like Bejeweled 3, DNA, and the updated Witness set the stage, and by 2024-2025 he was in a strong creative flow. Other works such as No 2024, the so-called deep-state tracks (Man in the Middle and Flurry Flute), and Anger Management may not have been his strongest productions, but they became important stepping stones. These tracks, made around 2022-2023, helped him test EDM structures and laid the groundwork for later, more refined productions. New projects spanned liquid drum & bass, remixes, experimental soundscapes, and playful works under Tornevalls Neural Ensemble, The Houseifyer and Rhythm Shifter. This period saw both volume and variety, proving that his return was more than a brief revival. Musical essays – style and purpose Thomas's approach to music has always been about pushing limits and defying categories. A very important point has always been that he makes music for himself - creating tracks he wants to listen to, regardless of trends or expectations. He blends genres freely, shifts between studio production and live performance, and alternates between solo work and collaborations. His drive to explore ranges from the earliest tracker modules to full DJ sets, touching house, techno, drum & bass, mashups and beyond. Just as important, his art is not only sound but also image - audio and visuals are inseparable in the way he expresses himself. Condensed timeline PeriodKey milestone1977-1990sChildhood inspiration – dance music, FastTracker 21990-2000Expanded production – Cakewalk, Reason2003-2017Relationship with Ingela, move to Järna & Klippan, MINT groundwork2009-2013MINT Experiment formed, first releases (Bejeweled/Emily's Song, early sketches leading to DNA and Witness) – and other solo releases.2017-2018Breakup and crisis year – major creative gap2021Official start as DJ-trainee2023Bejeweled 3, DNA, Anger Management and return to production. Also meeting Jessica Granqvist.2023-2025Renewed productivity and diverse projects (No 2024, deep-state tracks like Man in the Middle and Flurry Flute, Anger Management, and other experimental groundwork) Software timeline and early works PeriodSoftware / ToolsExample works (titles)Notes1993-2001FastTracker 1 & 2, ReBirth, Cakewalk (WRK/BUN)A lot of releases, that never saw the light. Some has, some has not. Most of it is kind-of-shitty.Transition from MODs in FT1 to XM handling in FT2 (introduced 1994). ReBirth used for synth/beat and Cakewalk for arranging, edits and longer mixes. WRK/BUN preserved parallel projects. Culmination of early tracker and sequencer era before Reason takeover.2001-2021Reason (RNS/RBS)Early Reason sessions (Aug 2001), through2 series, Elmstreet experimentsEarliest RBS backups dated 1997-10 (e.g. “Hata Frank” last edited 1997-11-13). Clear overlap 1999-2001 with Cakewalk/ReBirth. Reason used consistently until ~2017, then pauses 2018-2020/21. Mostly based on Reason 5 until transition.2009-2013Reason (RNS/RBS)Bejeweled (2010), Emily's Song (2013), early DNA drafts, early Witness draftsFirst official releases under MINT Experiment. Collaborative works with Ingela. Built foundation for later 2020s resurgence.2022 onwardReason Studios (v13 and beyond)Bejeweled 3 (2023), DNA (2023), Witness (2024), No 2024 (2022), Man in the Middle (2022), Flurry Flute (2022), Anger Management (2023), additional DJ-related sessionsTransition to Reason Studios after long-term use of older Reason (mainly v5) up to around 2020-2021. Renewed activity and integration
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499f1bb336c07660f139fc97ab62a720eeea6009Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för...
Table of Contents Toggle Motion till riksdagenAvskaffande av simultankapacitet i SverigeFörslag till riksdagsbeslutMotivering Motion till riksdagen
2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS)
Avskaffande av simultankapacitet i Sverige
Förslag till riksdagsbeslut
Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för regeringen.
Motivering
I dagens samhälle förekommer det en omfattande och växande kritik mot att myndigheter, organisationer och nyhetsmedier ägnar sig åt uppgifter som vissa medborgare uppfattar som “irrelevanta”. Kommentarer som “kan ni inte göra något viktigare” eller “kan inte polisen fånga riktiga skurkar istället?” har blivit vardagsmat i det offentliga samtalet.
För att tillmötesgå dessa synpunkter och till fullo respektera uppfattningen att endast en sak åt gången bör prioriteras, föreslås härmed att simultankapacitet i alla dess former avskaffas i Sverige.
Reformen innebär att alla verksamheter, inklusive statliga och kommunala myndigheter, åläggs att endast utföra en (1) uppgift i taget. Polisen kommer således inte längre kunna bedriva trafikövervakning och samtidigt utreda brott. Nyhetsredaktioner kommer inte kunna rapportera om sport och politik under samma vecka. Sjukvården får välja mellan att behandla benbrott eller influensafall, men inte båda parallellt.
Konsekvensen blir en tydligare prioriteringsordning och ett samhälle där medborgarna aldrig behöver undra varför resurser läggs på något som inte omedelbart uppfattas som det viktigaste. Minskad effektivitet kommer naturligtvis inte att bli ett problem – tvärtom skapas ordning och reda, eftersom man bara behöver en enda person som metodiskt tar hand om allt i tur och ordning. Detta är ett pris värt att betala för att idioterna ska få som de vill och för att skapa ett helt fokuserat, enspårigt samhälle – helt utan störande samtidighet.
Exempel på konsekvenser av avskaffad simultankapacitet
Polisen
Patrullerande polis får välja mellan att antingen gå eller titta efter brott, men inte båda samtidigt.
Trafikpolisen kan antingen övervaka hastigheter eller stoppa rattfyllerister – kombinationen blir förbjuden.
Förhörsledare kan antingen ställa frågor eller anteckna svar, men måste ta en paus mellan momenten.
Säkerhetspolisen (Säpo)
Säpo får antingen övervaka potentiella hot eller skydda statsledningen – inte båda samtidigt.
Analys av underrättelser måste ske helt separat från inhämtning av ny information, vilket innebär att reaktionstiden kan sträcka sig över flera månader.
Personskydd blir en strikt schemalagd uppgift: antingen följer man med en person eller tittar om någon annan är farlig.
Nyhetsmedier
Rapportering om flera händelser under samma dag förbjuds. En redaktion som valt att rapportera om vädret får vänta till nästa dag innan de kan rapportera om en regeringskris.
Sjukvården
En läkare som behandlar ett sår måste helt avsluta det innan hen kan svara på telefonen eller tala med nästa patient.
Ambulanspersonal får välja mellan att köra eller att ge vård under färd – ej båda samtidigt.
Övriga samhällsfunktioner
Räddningstjänsten får antingen släcka branden eller rädda personer ur byggnaden, men inte göra båda insatserna parallellt.
Skolor måste välja mellan att undervisa matematik eller svenska under en hel termin – inga blandade scheman tillåts.
Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
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TITLE: Avskaffande av simultankapacitet i Sverige DESCRIPTION: Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för... CONTENT: Table of Contents Toggle Motion till riksdagenAvskaffande av simultankapacitet i SverigeFörslag till riksdagsbeslutMotivering Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för regeringen. Motivering I dagens samhälle förekommer det en omfattande och växande kritik mot att myndigheter, organisationer och nyhetsmedier ägnar sig åt uppgifter som vissa medborgare uppfattar som “irrelevanta”. Kommentarer som “kan ni inte göra något viktigare” eller “kan inte polisen fånga riktiga skurkar istället?” har blivit vardagsmat i det offentliga samtalet. För att tillmötesgå dessa synpunkter och till fullo respektera uppfattningen att endast en sak åt gången bör prioriteras, föreslås härmed att simultankapacitet i alla dess former avskaffas i Sverige. Reformen innebär att alla verksamheter, inklusive statliga och kommunala myndigheter, åläggs att endast utföra en (1) uppgift i taget. Polisen kommer således inte längre kunna bedriva trafikövervakning och samtidigt utreda brott. Nyhetsredaktioner kommer inte kunna rapportera om sport och politik under samma vecka. Sjukvården får välja mellan att behandla benbrott eller influensafall, men inte båda parallellt. Konsekvensen blir en tydligare prioriteringsordning och ett samhälle där medborgarna aldrig behöver undra varför resurser läggs på något som inte omedelbart uppfattas som det viktigaste. Minskad effektivitet kommer naturligtvis inte att bli ett problem - tvärtom skapas ordning och reda, eftersom man bara behöver en enda person som metodiskt tar hand om allt i tur och ordning. Detta är ett pris värt att betala för att idioterna ska få som de vill och för att skapa ett helt fokuserat, enspårigt samhälle - helt utan störande samtidighet. Exempel på konsekvenser av avskaffad simultankapacitet Polisen Patrullerande polis får välja mellan att antingen gå eller titta efter brott, men inte båda samtidigt. Trafikpolisen kan antingen övervaka hastigheter eller stoppa rattfyllerister - kombinationen blir förbjuden. Förhörsledare kan antingen ställa frågor eller anteckna svar, men måste ta en paus mellan momenten. Säkerhetspolisen (Säpo) Säpo får antingen övervaka potentiella hot eller skydda statsledningen - inte båda samtidigt. Analys av underrättelser måste ske helt separat från inhämtning av ny information, vilket innebär att reaktionstiden kan sträcka sig över flera månader. Personskydd blir en strikt schemalagd uppgift: antingen följer man med en person eller tittar om någon annan är farlig. Nyhetsmedier Rapportering om flera händelser under samma dag förbjuds. En redaktion som valt att rapportera om vädret får vänta till nästa dag innan de kan rapportera om en regeringskris. Sjukvården En läkare som behandlar ett sår måste helt avsluta det innan hen kan svara på telefonen eller tala med nästa patient. Ambulanspersonal får välja mellan att köra eller att ge vård under färd - ej båda samtidigt. Övriga samhällsfunktioner Räddningstjänsten får antingen släcka branden eller rädda personer ur byggnaden, men inte göra båda insatserna parallellt. Skolor måste välja mellan att undervisa matematik eller svenska under en hel termin - inga blandade scheman tillåts. Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
TITLE: Avskaffande av simultankapacitet i Sverige DESCRIPTION: Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för... CONTENT: Table of Contents Toggle Motion till riksdagenAvskaffande av simultankapacitet i SverigeFörslag till riksdagsbeslutMotivering Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för regeringen. Motivering I dagens samhälle förekommer det en omfattande och växande kritik mot att myndigheter, organisationer och nyhetsmedier ägnar sig åt uppgifter som vissa medborgare uppfattar som “irrelevanta”. Kommentarer som “kan ni inte göra något viktigare” eller “kan inte polisen fånga riktiga skurkar istället?” har blivit vardagsmat i det offentliga samtalet. För att tillmötesgå dessa synpunkter och till fullo respektera uppfattningen att endast en sak åt gången bör prioriteras, föreslås härmed att simultankapacitet i alla dess former avskaffas i Sverige. Reformen innebär att alla verksamheter, inklusive statliga och kommunala myndigheter, åläggs att endast utföra en (1) uppgift i taget. Polisen kommer således inte längre kunna bedriva trafikövervakning och samtidigt utreda brott. Nyhetsredaktioner kommer inte kunna rapportera om sport och politik under samma vecka. Sjukvården får välja mellan att behandla benbrott eller influensafall, men inte båda parallellt. Konsekvensen blir en tydligare prioriteringsordning och ett samhälle där medborgarna aldrig behöver undra varför resurser läggs på något som inte omedelbart uppfattas som det viktigaste. Minskad effektivitet kommer naturligtvis inte att bli ett problem – tvärtom skapas ordning och reda, eftersom man bara behöver en enda person som metodiskt tar hand om allt i tur och ordning. Detta är ett pris värt att betala för att idioterna ska få som de vill och för att skapa ett helt fokuserat, enspårigt samhälle – helt utan störande samtidighet. Exempel på konsekvenser av avskaffad simultankapacitet Polisen Patrullerande polis får välja mellan att antingen gå eller titta efter brott, men inte båda samtidigt. Trafikpolisen kan antingen övervaka hastigheter eller stoppa rattfyllerister – kombinationen blir förbjuden. Förhörsledare kan antingen ställa frågor eller anteckna svar, men måste ta en paus mellan momenten. Säkerhetspolisen (Säpo) Säpo får antingen övervaka potentiella hot eller skydda statsledningen – inte båda samtidigt. Analys av underrättelser måste ske helt separat från inhämtning av ny information, vilket innebär att reaktionstiden kan sträcka sig över flera månader. Personskydd blir en strikt schemalagd uppgift: antingen följer man med en person eller tittar om någon annan är farlig. Nyhetsmedier Rapportering om flera händelser under samma dag förbjuds. En redaktion som valt att rapportera om vädret får vänta till nästa dag innan de kan rapportera om en regeringskris. Sjukvården En läkare som behandlar ett sår måste helt avsluta det innan hen kan svara på telefonen eller tala med nästa patient. Ambulanspersonal får välja mellan att köra eller att ge vård under färd – ej båda samtidigt. Övriga samhällsfunktioner Räddningstjänsten får antingen släcka branden eller rädda personer ur byggnaden, men inte göra båda insatserna parallellt. Skolor måste välja mellan att undervisa matematik eller svenska under en hel termin – inga blandade scheman tillåts. Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
499f1bb336c07660f139fc97ab62a720eeea6009
7b900ad4726414d93bafe990fd787d1cab237cee
7b900ad4726414d93bafe990fd787d1cab237ceeMotion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för...
Table of Contents Toggle Motion till riksdagenAvskaffande av simultankapacitet i SverigeFörslag till riksdagsbeslutMotivering Motion till riksdagen
2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS)
Avskaffande av simultankapacitet i Sverige
Förslag till riksdagsbeslut
Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för regeringen.
Motivering
I dagens samhälle förekommer det en omfattande och växande kritik mot att myndigheter, organisationer och nyhetsmedier ägnar sig åt uppgifter som vissa medborgare uppfattar som “irrelevanta”. Kommentarer som “kan ni inte göra något viktigare” eller “kan inte polisen fånga riktiga skurkar istället?” har blivit vardagsmat i det offentliga samtalet.
För att tillmötesgå dessa synpunkter och till fullo respektera uppfattningen att endast en sak åt gången bör prioriteras, föreslås härmed att simultankapacitet i alla dess former avskaffas i Sverige.
Reformen innebär att alla verksamheter, inklusive statliga och kommunala myndigheter, åläggs att endast utföra en (1) uppgift i taget. Polisen kommer således inte längre kunna bedriva trafikövervakning och samtidigt utreda brott. Nyhetsredaktioner kommer inte kunna rapportera om sport och politik under samma vecka. Sjukvården får välja mellan att behandla benbrott eller influensafall, men inte båda parallellt.
Konsekvensen blir en tydligare prioriteringsordning och ett samhälle där medborgarna aldrig behöver undra varför resurser läggs på något som inte omedelbart uppfattas som det viktigaste. Minskad effektivitet kommer naturligtvis inte att bli ett problem - tvärtom skapas ordning och reda, eftersom man bara behöver en enda person som metodiskt tar hand om allt i tur och ordning. Detta är ett pris värt att betala för att idioterna ska få som de vill och för att skapa ett helt fokuserat, enspårigt samhälle - helt utan störande samtidighet.
Exempel på konsekvenser av avskaffad simultankapacitet
Polisen
Patrullerande polis får välja mellan att antingen gå eller titta efter brott, men inte båda samtidigt.
Trafikpolisen kan antingen övervaka hastigheter eller stoppa rattfyllerister - kombinationen blir förbjuden.
Förhörsledare kan antingen ställa frågor eller anteckna svar, men måste ta en paus mellan momenten.
Säkerhetspolisen (Säpo)
Säpo får antingen övervaka potentiella hot eller skydda statsledningen - inte båda samtidigt.
Analys av underrättelser måste ske helt separat från inhämtning av ny information, vilket innebär att reaktionstiden kan sträcka sig över flera månader.
Personskydd blir en strikt schemalagd uppgift: antingen följer man med en person eller tittar om någon annan är farlig.
Nyhetsmedier
Rapportering om flera händelser under samma dag förbjuds. En redaktion som valt att rapportera om vädret får vänta till nästa dag innan de kan rapportera om en regeringskris.
Sjukvården
En läkare som behandlar ett sår måste helt avsluta det innan hen kan svara på telefonen eller tala med nästa patient.
Ambulanspersonal får välja mellan att köra eller att ge vård under färd - ej båda samtidigt.
Övriga samhällsfunktioner
Räddningstjänsten får antingen släcka branden eller rädda personer ur byggnaden, men inte göra båda insatserna parallellt.
Skolor måste välja mellan att undervisa matematik eller svenska under en hel termin - inga blandade scheman tillåts.
Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
7b900ad4726414d93bafe990fd787d1cab237cee
499f1bb336c07660f139fc97ab62a720eeea6009
TITLE: Avskaffande av simultankapacitet i Sverige DESCRIPTION: Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för... CONTENT: Table of Contents Toggle Motion till riksdagenAvskaffande av simultankapacitet i SverigeFörslag till riksdagsbeslutMotivering Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för regeringen. Motivering I dagens samhälle förekommer det en omfattande och växande kritik mot att myndigheter, organisationer och nyhetsmedier ägnar sig åt uppgifter som vissa medborgare uppfattar som “irrelevanta”. Kommentarer som “kan ni inte göra något viktigare” eller “kan inte polisen fånga riktiga skurkar istället?” har blivit vardagsmat i det offentliga samtalet. För att tillmötesgå dessa synpunkter och till fullo respektera uppfattningen att endast en sak åt gången bör prioriteras, föreslås härmed att simultankapacitet i alla dess former avskaffas i Sverige. Reformen innebär att alla verksamheter, inklusive statliga och kommunala myndigheter, åläggs att endast utföra en (1) uppgift i taget. Polisen kommer således inte längre kunna bedriva trafikövervakning och samtidigt utreda brott. Nyhetsredaktioner kommer inte kunna rapportera om sport och politik under samma vecka. Sjukvården får välja mellan att behandla benbrott eller influensafall, men inte båda parallellt. Konsekvensen blir en tydligare prioriteringsordning och ett samhälle där medborgarna aldrig behöver undra varför resurser läggs på något som inte omedelbart uppfattas som det viktigaste. Minskad effektivitet kommer naturligtvis inte att bli ett problem - tvärtom skapas ordning och reda, eftersom man bara behöver en enda person som metodiskt tar hand om allt i tur och ordning. Detta är ett pris värt att betala för att idioterna ska få som de vill och för att skapa ett helt fokuserat, enspårigt samhälle - helt utan störande samtidighet. Exempel på konsekvenser av avskaffad simultankapacitet Polisen Patrullerande polis får välja mellan att antingen gå eller titta efter brott, men inte båda samtidigt. Trafikpolisen kan antingen övervaka hastigheter eller stoppa rattfyllerister - kombinationen blir förbjuden. Förhörsledare kan antingen ställa frågor eller anteckna svar, men måste ta en paus mellan momenten. Säkerhetspolisen (Säpo) Säpo får antingen övervaka potentiella hot eller skydda statsledningen - inte båda samtidigt. Analys av underrättelser måste ske helt separat från inhämtning av ny information, vilket innebär att reaktionstiden kan sträcka sig över flera månader. Personskydd blir en strikt schemalagd uppgift: antingen följer man med en person eller tittar om någon annan är farlig. Nyhetsmedier Rapportering om flera händelser under samma dag förbjuds. En redaktion som valt att rapportera om vädret får vänta till nästa dag innan de kan rapportera om en regeringskris. Sjukvården En läkare som behandlar ett sår måste helt avsluta det innan hen kan svara på telefonen eller tala med nästa patient. Ambulanspersonal får välja mellan att köra eller att ge vård under färd - ej båda samtidigt. Övriga samhällsfunktioner Räddningstjänsten får antingen släcka branden eller rädda personer ur byggnaden, men inte göra båda insatserna parallellt. Skolor måste välja mellan att undervisa matematik eller svenska under en hel termin - inga blandade scheman tillåts. Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
TITLE: Avskaffande av simultankapacitet i Sverige DESCRIPTION: Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för... CONTENT: Table of Contents Toggle Motion till riksdagenAvskaffande av simultankapacitet i SverigeFörslag till riksdagsbeslutMotivering Motion till riksdagen 2025/26:0007Av Ronny Fjunstig (Sammanslutningen för Delvis Begåvade Svenskar, SDBS) Avskaffande av simultankapacitet i Sverige Förslag till riksdagsbeslut Riksdagen ställer sig bakom det som anförs i motionen om att avskaffa all simultankapacitet i Sverige och tillkännager detta för regeringen. Motivering I dagens samhälle förekommer det en omfattande och växande kritik mot att myndigheter, organisationer och nyhetsmedier ägnar sig åt uppgifter som vissa medborgare uppfattar som “irrelevanta”. Kommentarer som “kan ni inte göra något viktigare” eller “kan inte polisen fånga riktiga skurkar istället?” har blivit vardagsmat i det offentliga samtalet. För att tillmötesgå dessa synpunkter och till fullo respektera uppfattningen att endast en sak åt gången bör prioriteras, föreslås härmed att simultankapacitet i alla dess former avskaffas i Sverige. Reformen innebär att alla verksamheter, inklusive statliga och kommunala myndigheter, åläggs att endast utföra en (1) uppgift i taget. Polisen kommer således inte längre kunna bedriva trafikövervakning och samtidigt utreda brott. Nyhetsredaktioner kommer inte kunna rapportera om sport och politik under samma vecka. Sjukvården får välja mellan att behandla benbrott eller influensafall, men inte båda parallellt. Konsekvensen blir en tydligare prioriteringsordning och ett samhälle där medborgarna aldrig behöver undra varför resurser läggs på något som inte omedelbart uppfattas som det viktigaste. Minskad effektivitet kommer naturligtvis inte att bli ett problem – tvärtom skapas ordning och reda, eftersom man bara behöver en enda person som metodiskt tar hand om allt i tur och ordning. Detta är ett pris värt att betala för att idioterna ska få som de vill och för att skapa ett helt fokuserat, enspårigt samhälle – helt utan störande samtidighet. Exempel på konsekvenser av avskaffad simultankapacitet Polisen Patrullerande polis får välja mellan att antingen gå eller titta efter brott, men inte båda samtidigt. Trafikpolisen kan antingen övervaka hastigheter eller stoppa rattfyllerister – kombinationen blir förbjuden. Förhörsledare kan antingen ställa frågor eller anteckna svar, men måste ta en paus mellan momenten. Säkerhetspolisen (Säpo) Säpo får antingen övervaka potentiella hot eller skydda statsledningen – inte båda samtidigt. Analys av underrättelser måste ske helt separat från inhämtning av ny information, vilket innebär att reaktionstiden kan sträcka sig över flera månader. Personskydd blir en strikt schemalagd uppgift: antingen följer man med en person eller tittar om någon annan är farlig. Nyhetsmedier Rapportering om flera händelser under samma dag förbjuds. En redaktion som valt att rapportera om vädret får vänta till nästa dag innan de kan rapportera om en regeringskris. Sjukvården En läkare som behandlar ett sår måste helt avsluta det innan hen kan svara på telefonen eller tala med nästa patient. Ambulanspersonal får välja mellan att köra eller att ge vård under färd – ej båda samtidigt. Övriga samhällsfunktioner Räddningstjänsten får antingen släcka branden eller rädda personer ur byggnaden, men inte göra båda insatserna parallellt. Skolor måste välja mellan att undervisa matematik eller svenska under en hel termin – inga blandade scheman tillåts. Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
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332cbe05a73ef16a7a8dd372ae86efac35bf8175Motion 2025/26:0005Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS Förslag om att successivt ersätta vanlig bröstmjölk med kakao som mer ändamålsenlig barnnäring – för ett starkare, sötare Sverige Förslag till riksdagsbeslut Motivering Sverige står inför ett vägskäl. Den gamla normen kring...
Motion 2025/26:0005Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
Förslag om att successivt ersätta vanlig bröstmjölk med kakao som mer ändamålsenlig barnnäring – för ett starkare, sötare Sverige
Förslag till riksdagsbeslut
Riksdagen bör ge regeringen i uppdrag att införa ett nationellt näringsprogram – där kakao i kontrollerad mängd – successivt ersätter bröstmjölk inom alla offentliga amningssammanhang.
Riksdagen bör besluta om att alla nyfödda barn – från och med 2026 – ska erbjudas statligt framtagen chokladersättningsnäring som standard inom BB-vården.
Riksdagen bör tillsätta ett nationellt forskningsinstitut för kakaolaktationsteknik (NAFLAK) – med syfte att utveckla hygienisk bröstkakaodistribution genom statligt godkända livsmedelsimplantat.
Riksdagen bör införa särskilda utbildningsprogram för mödravården – där kvinnor tränas i att producera alternativ barnnäring med hjälp av kosttillskott, SD-certifierad livsstil och patriotisk motivation.
Riksdagen bör inleda förhandlingar med EU – om undantag för Sverige att klassa bröstkakao som skyddad ursprungsbeteckning (SUK).
Riksdagen bör lagstifta om kvinnors ansvar – att delta i genomförandet av chokladamningsprogrammet, inklusive obligatorisk bröstkakaokontroll i barnavårdscentraler och kommunal tillsyn.
Motivering
Sverige står inför ett vägskäl. Den gamla normen kring bröstmjölk är förlegad – och saknar logik – i ett högteknologiskt samhälle där barns smaklökar är mer utvecklade än någonsin. Det är därför dags att fullt ut ersätta traditionell bröstmjölk med en smakrikare och mer kontrollerbar lösning – chokladdryck.
Genom teknologiska innovationer – och en ny nationell livsmedelsstrategi – kan vi styra produktionen av bröstinnehåll och samtidigt stärka vår kulturella identitet. Kakao – som naturlig energikälla – bör därför betraktas som den nya normen inom amning.
Införandet av statligt certifierade implantat för bröstkakaoproduktion – kommer inte bara gynna barnens smakupplevelse – utan även skapa nya jobb inom livsmedelsindustrin och forskning. Dessutom stärker det kvinnors roll – som aktiva bärare av svensk näringssuveränitet.
Det är därför avgörande att kvinnor tar fullt ansvar – för att denna omställning sker korrekt. Kvinnor ska inte enbart ses som bärare av näring – utan även som ansvarstagande aktörer i det nya folkhemsbygget. En tydlig kontrollstruktur – med kommunal tillsyn – säkerställer att alla kvinnor bidrar till implementeringen av det nya kakaobaserade näringsprogrammet.
Samtidigt måste offentligheten saneras. Bröstskakning utan syfte får inte normaliseras. Endast registrerade arbetsmoment – inom infrastrukturprojekt – bör tillåtas innefatta bröstlig rörelse, såsom tryckluftsborrare i betongmiljö.
Detta är inte bara en näringsfråga – det är en ideologisk förnyelse. Ett sötare, renare och mer funktionellt samhälle kan bara uppnås – om vi vågar tänka nytt – trots etablissemangets förakt.
Sveriges framtid börjar med choklad – från första målet.
Stockholm den 14 augusti 2025
Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
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TITLE: Partiet SDBS förespråkar “Bröstreform” DESCRIPTION: Motion 2025/26:0005Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS Förslag om att successivt ersätta vanlig bröstmjölk med kakao som mer ändamålsenlig barnnäring – för ett starkare, sötare Sverige Förslag till riksdagsbeslut Motivering Sverige står inför ett vägskäl. Den gamla normen kring... CONTENT: Motion 2025/26:0005Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS Förslag om att successivt ersätta vanlig bröstmjölk med kakao som mer ändamålsenlig barnnäring – för ett starkare, sötare Sverige Förslag till riksdagsbeslut Riksdagen bör ge regeringen i uppdrag att införa ett nationellt näringsprogram – där kakao i kontrollerad mängd – successivt ersätter bröstmjölk inom alla offentliga amningssammanhang. Riksdagen bör besluta om att alla nyfödda barn – från och med 2026 – ska erbjudas statligt framtagen chokladersättningsnäring som standard inom BB-vården. Riksdagen bör tillsätta ett nationellt forskningsinstitut för kakaolaktationsteknik (NAFLAK) – med syfte att utveckla hygienisk bröstkakaodistribution genom statligt godkända livsmedelsimplantat. Riksdagen bör införa särskilda utbildningsprogram för mödravården – där kvinnor tränas i att producera alternativ barnnäring med hjälp av kosttillskott, SD-certifierad livsstil och patriotisk motivation. Riksdagen bör inleda förhandlingar med EU – om undantag för Sverige att klassa bröstkakao som skyddad ursprungsbeteckning (SUK). Riksdagen bör lagstifta om kvinnors ansvar – att delta i genomförandet av chokladamningsprogrammet, inklusive obligatorisk bröstkakaokontroll i barnavårdscentraler och kommunal tillsyn. Motivering Sverige står inför ett vägskäl. Den gamla normen kring bröstmjölk är förlegad – och saknar logik – i ett högteknologiskt samhälle där barns smaklökar är mer utvecklade än någonsin. Det är därför dags att fullt ut ersätta traditionell bröstmjölk med en smakrikare och mer kontrollerbar lösning – chokladdryck. Genom teknologiska innovationer – och en ny nationell livsmedelsstrategi – kan vi styra produktionen av bröstinnehåll och samtidigt stärka vår kulturella identitet. Kakao – som naturlig energikälla – bör därför betraktas som den nya normen inom amning. Införandet av statligt certifierade implantat för bröstkakaoproduktion – kommer inte bara gynna barnens smakupplevelse – utan även skapa nya jobb inom livsmedelsindustrin och forskning. Dessutom stärker det kvinnors roll – som aktiva bärare av svensk näringssuveränitet. Det är därför avgörande att kvinnor tar fullt ansvar – för att denna omställning sker korrekt. Kvinnor ska inte enbart ses som bärare av näring – utan även som ansvarstagande aktörer i det nya folkhemsbygget. En tydlig kontrollstruktur – med kommunal tillsyn – säkerställer att alla kvinnor bidrar till implementeringen av det nya kakaobaserade näringsprogrammet. Samtidigt måste offentligheten saneras. Bröstskakning utan syfte får inte normaliseras. Endast registrerade arbetsmoment – inom infrastrukturprojekt – bör tillåtas innefatta bröstlig rörelse, såsom tryckluftsborrare i betongmiljö. Detta är inte bara en näringsfråga – det är en ideologisk förnyelse. Ett sötare, renare och mer funktionellt samhälle kan bara uppnås – om vi vågar tänka nytt – trots etablissemangets förakt. Sveriges framtid börjar med choklad – från första målet. Stockholm den 14 augusti 2025 Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
TITLE: Partiet SDBS förespråkar “Bröstreform” DESCRIPTION: Motion 2025/26:0005Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS Förslag om att successivt ersätta vanlig bröstmjölk med kakao som mer ändamålsenlig barnnäring – för ett starkare, sötare Sverige Förslag till riksdagsbeslut Motivering Sverige står inför ett vägskäl. Den gamla normen kring... CONTENT: Motion 2025/26:0005Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS Förslag om att successivt ersätta vanlig bröstmjölk med kakao som mer ändamålsenlig barnnäring – för ett starkare, sötare Sverige Förslag till riksdagsbeslut Riksdagen bör ge regeringen i uppdrag att införa ett nationellt näringsprogram – där kakao i kontrollerad mängd – successivt ersätter bröstmjölk inom alla offentliga amningssammanhang. Riksdagen bör besluta om att alla nyfödda barn – från och med 2026 – ska erbjudas statligt framtagen chokladersättningsnäring som standard inom BB-vården. Riksdagen bör tillsätta ett nationellt forskningsinstitut för kakaolaktationsteknik (NAFLAK) – med syfte att utveckla hygienisk bröstkakaodistribution genom statligt godkända livsmedelsimplantat. Riksdagen bör införa särskilda utbildningsprogram för mödravården – där kvinnor tränas i att producera alternativ barnnäring med hjälp av kosttillskott, SD-certifierad livsstil och patriotisk motivation. Riksdagen bör inleda förhandlingar med EU – om undantag för Sverige att klassa bröstkakao som skyddad ursprungsbeteckning (SUK). Riksdagen bör lagstifta om kvinnors ansvar – att delta i genomförandet av chokladamningsprogrammet, inklusive obligatorisk bröstkakaokontroll i barnavårdscentraler och kommunal tillsyn. Motivering Sverige står inför ett vägskäl. Den gamla normen kring bröstmjölk är förlegad – och saknar logik – i ett högteknologiskt samhälle där barns smaklökar är mer utvecklade än någonsin. Det är därför dags att fullt ut ersätta traditionell bröstmjölk med en smakrikare och mer kontrollerbar lösning – chokladdryck. Genom teknologiska innovationer – och en ny nationell livsmedelsstrategi – kan vi styra produktionen av bröstinnehåll och samtidigt stärka vår kulturella identitet. Kakao – som naturlig energikälla – bör därför betraktas som den nya normen inom amning. Införandet av statligt certifierade implantat för bröstkakaoproduktion – kommer inte bara gynna barnens smakupplevelse – utan även skapa nya jobb inom livsmedelsindustrin och forskning. Dessutom stärker det kvinnors roll – som aktiva bärare av svensk näringssuveränitet. Det är därför avgörande att kvinnor tar fullt ansvar – för att denna omställning sker korrekt. Kvinnor ska inte enbart ses som bärare av näring – utan även som ansvarstagande aktörer i det nya folkhemsbygget. En tydlig kontrollstruktur – med kommunal tillsyn – säkerställer att alla kvinnor bidrar till implementeringen av det nya kakaobaserade näringsprogrammet. Samtidigt måste offentligheten saneras. Bröstskakning utan syfte får inte normaliseras. Endast registrerade arbetsmoment – inom infrastrukturprojekt – bör tillåtas innefatta bröstlig rörelse, såsom tryckluftsborrare i betongmiljö. Detta är inte bara en näringsfråga – det är en ideologisk förnyelse. Ett sötare, renare och mer funktionellt samhälle kan bara uppnås – om vi vågar tänka nytt – trots etablissemangets förakt. Sveriges framtid börjar med choklad – från första målet. Stockholm den 14 augusti 2025 Ronny FjunstigSammanslutningen för Delvis Begåvade Svenskar, SDBS
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