You may have seen it on your feed: a colossal, robotic figure breathing in rhythm with waves of melodic techno, its mecha body pulsing like a living dream. At the centre of it all stands a lone figure, the mastermind bridging digital and physical reality. Surrounding him is a console, a shrine of circuitry and coiling tubes that glow like living veins as he orchestrates sound and vision.
The audience stands still, mesmerised. Hands rise – some to rave, most to capture memories on their phones. Unlike the usual festival chaos, the drunken shouting, or the feverish energy of an electronic DJ set party, this crowd is fully engaged, spellbound even. Here, inside The Sphere in Las Vegas – a 360-degree canvas of light and sound – the performance unfolds as an immersive experience that blurs the line between concert and digital art installation.
This is Anyma, where music stirs the soul and technology awakens emotion.
Anyma is the hybrid persona created by multi-disciplinary artist and DJ Matteo Milleri. It is not just another alias, but a bold artistic evolution – a living canvas where sound and imagery merge as Milleri manifests his vision into form. Each project is approached not merely as a musical endeavour, but as an artistic identity, one in which he is deeply involved in visual art and creative direction.
As a result, the 37-year-old Italian-American has shaped a space of his own within contemporary electronic music. Since 2021, he has released a string of singles and three studio albums – Genesys (2023), Genesys II (2024), and The End of Genesys (2025) – projects that defined a new era of melodic techno. But beyond that, it is the groundbreaking performances, from the monumental Quantum Genesys show at the Great Pyramids of Giza to his record-setting residency at The Sphere in Las Vegas, that cements his status as one of the genre’s most visionary figures.
The name Anyma comes from the Latin word for soul. What is the meaning behind it and how does that represent you as an artist?
My inspiration from the beginning of Anyma was to exist at the intersection of reality and imagination, particularly where the physical and the digital worlds merge. This idea also ties closely to the concept of animismo, which is the belief that every object, element, and creation has a spirit or consciousness. The intent of Anyma was to explore that philosophy in a modern context: like giving soul to sound, consciousness to visuals, and emotion to technology.
In what ways did your early artistic and musical background contribute to Anyma’s unique visual and conceptual identity?
I started playing piano when I was young; those are my earliest memories with music. When I was older and became interested in music production, I was more fascinated by sounds and by the worlds that sound can create. The Anyma project was initially inspired by modern classic musicians like Nils Frahm, Ólafur Arnalds, Jóhann Jóhannsson and Vangelis. Warp Records and Aphex Twin were big inspirations as well. My personal passion for visual art and design taught me to see that music could be something more than just an auditory experience, and now my inspiration comes from anything that excites me. Visually and conceptually, the Anyma project is about that duality and balance. So in many ways, Anyma is more just the sum of my experiences and an evolution of my personal interests. It’s me experimenting on how to get the most emotion from technology, predominantly via sound and sight.
Many of your works explore the themes of transformation, rebirth and human, alongside robotics and machines. Can you share why these ideas are central to your brand?
Transformation is the overarching theme of everything within the Anyma project and has always been a fascination to me personally. A great question and struggle of our time is balancing humanity with rapid advancement in technology. Especially, how this will impact the future of the human experience and what that could even look like one day. These ideas, stemming from sci-fi, robotics, and video-games, always seemed to resonate most with me and feel even more relevant today.
You’ve championed a performance that blurs the line between music and digital art, a fusion of melody and visual storytelling. What’s your creative process like when producing a new track? Do you start with visuals or melody?
The music and the visuals are completely intertwined while the process looks different for each track, depending on the initial feeling that comes more naturally. Sometimes the song comes first, sometimes a thematic concept comes first, often I am creating both at the same time and having ideas as to what a certain sound or chord progression looks like visually.
At its core, the audiovisual aspect is never about creating a spectacle, but about a real and complex world with an overarching narrative and characters, and of course, the music at the centre.
What does your creative team look like, and what role do you play in bringing it all together?
The team is really connected across all elements of the project; we essentially create everything in-house with a close group of creatives and partners for the end result audiovisual experience. The evolution of AI is pushing us to constantly level up our ability to hopefully deliver a uniquely immersive experience to fans. It’s a constant collaborative back-and-forth process and I’m proud of how the team is continually bringing everything to life no matter how challenging the venue, concept, or delivery time.
What has been the biggest creative challenge or risk you’ve taken with Anyma?
Performing at Sphere was definitely the biggest risk I’ve taken so far and the most difficult creative challenge of my career. The depth of the environment in that venue truly forced me to think about how every moment in my show impacts the audience, because of just how immersive it is. It was a challenge to ensure the technology didn’t overpower the message and narrative. We still wanted to retain the sense of intimacy while pushing the digital canvas to its limits.
What do you hope the audiences take away from experiencing your concert in person?
Above all, I hope that the audiences feel fully immersed in another world when they come to a show, transported to something they weren’t sure was possible. I really try to push and make every show unique and bring an entirely different experience. I hope it resonates with them emotionally and that they leave impacted by the stories and the narrative more than anything else.
Photographer: Lenne Chai / B&A
Editorial Director: Jumius Wong
Creative Direction: Jenine Oh
Executive Producer: Andrew Bear / HYPERION
Styling: Luca Falcioni
Grooming: Candice Birns / A-Frame Agency
Set Designer: Ester Song Kim
Studio Manager: Chris Lewis
Creative Coordinator: Micaela Leon Perdomo / HYPERION
Photo Assistants: Chir Yan Lim, Nico Vargas, Cristina Martinez, Nathan Molina
Styling assistant: Adrian Jose Ramos Diaz
Production Assistant: Emma Hair
Studio: HYPE Studio
