Name: Matisa
Nationality: Italian
Occupation: Producer, DJ
Current Release: Matisa's new single "In my Head" is out via Slacker 85. The full EP will follow January 31st 2025.
Recommendations: Anna Deller-Yee; Truth – The End (Funky Groove Records) UK 1992

If you enjoyed these thoughts by Matisa and would like to stay up to date on her music, visit her on Instagram, and Soundcloud.  

For a deeper dive, read our earlier Matisa interview.  



When I listen to music, I see shapes, objects and colours. What happens in your body when you're listening? Do you listen with your eyes open or closed?

Whether I keep my eyes open or closed depends on the emotion I feel. If I were to describe it, I would say that I first experience the emotion in my chest, and then it spreads throughout my body. Based on the emotion, I either keep my eyes open or closed.

There are different kinds of emotions: some make you rejoice with euphoria, while others create a more dreamy state. There is no fixed behaviour for me; everything depends on what the music evokes at that moment.

Entering/creating new worlds through music has always exerted a strong pull on me. What do you think you are drawn to most when it comes to listening to and creating music?

I am deeply attracted to melodies, groove, and percussion—these three elements form the foundation of my music. There’s something about the interplay of rhythm and melody that creates a dynamic energy, drawing me in every time I listen or create.

I’m always searching for fresh, unique sounds, whether it’s through sampling, creating new sounds myself, or experimenting with different rhythms. The process of discovering something new, something unexpected, is what keeps me motivated and inspired.

It’s about crafting a vibe that feels alive and constantly evolving.

According to scientific studies, we make our deepest and most incisive musical experiences between the ages of 13-16. What did music mean to you at that age and what’s changed since then?

I used to buy CDs at the market on Saturdays and listen to them on the stereo in my room. At some point, I started buying music online and creating my own personalized CDs.

At that time, I mostly listened to Battiato, Eiffel 65, Moby, Eminem, Elisa, Carmen Consoli, Fergie, Pink, Anastacia, and I was very into pop dance music. I followed Top of the Pops religiously, and I was fascinated by it!

Every morning, I listened to classical music when I woke up, often a CD of Albinoni’s concertos.

Tell me about one or two of your early pieces that you're still proud of (or satisfied with) – and why you are content with them.

“Lusia” is a track on the EP released on Gudu Records. I wrote it for my mother, and I think I managed to capture the feeling of when you hug your mother and feel her heartbeat. That’s how I perceive it, at least.

I invite you to listen to it.



Another track I’m very proud of is “Honey Comb” on Optimo Music—my first release!

I remember, as soon as I finished it, realizing I was ready to share it with the world.



What is your current studio or workspace like? What instruments, tools, equipment, and space do you need to make music?

At home, my setup for developing ideas consists of a laptop, Ableton, an external sound card, a condenser microphone, a MIDI controller, and a pair of Phonon headphones.

I rent a studio space where I perfect the quality of the production.

From the earliest sketches to the finished piece, tell me about the creative process for your current release, please.

It’s a process of sound research, followed by a study phase, a listening phase, and technical finishing.

What role and importance do rituals have for you, both as an artist and a listener?

As an artist, rituals provide structure and focus, enhancing creativity and emotional connection to the music.

As a listener, rituals—such as attending concerts or listening at specific times—create a sense of community and deepen emotional ties to the music and the artist.

Are you acting out parts of your personality in your music which you couldn't or wouldn't in your daily life? If so, which are these?

I don’t feel like I’m acting out parts of my personality in my music that I wouldn’t express in daily life. For me, music is a natural way to express my thoughts and emotions as they are, without adopting a separate persona or alter-ego.

The feelings and ideas I convey in my music are always deeply personal, so I wouldn’t say it’s about acting out something I can't express elsewhere—it's more about capturing moments of my emotional experience in a raw, honest way.

Late producer SOPHIE said: “You have the possibility [...] to generate any texture, and any sound. So why would any musician want to limit themselves?” What's your take on that?

I completely agree with SOPHIE’s perspective. As an artist, the possibilities for sound creation are endless, and that’s one of the most exciting aspects of making music.

I don’t like to limit myself because there’s always something new to discover. I love experimenting with different textures, layers, and sounds, and that willingness to explore the unknown is what keeps the creative process alive for me.

The world of sound is so vast, and I want to embrace as much of it as I can.

Do you feel that your music or your work as an artist needs to have a societal purpose or a responsibility to anyone but yourself?

As an artist, I believe that my primary responsibility is to my own creative vision and truth. Music, for me, is a personal form of expression—it’s about communicating my thoughts, emotions, and experiences.

While I don’t feel a specific societal obligation when I create, I recognize that art can naturally take on societal significance, especially if it resonates with others or reflects the world around us. If my music speaks to social or political issues, it’s not something I actively plan or force—it’s just a reflection of what’s on my mind, shaped by the environment and experiences I’m living through.

I think that’s the beauty of art: it can have a powerful impact without being intentionally directed toward a particular cause. In the end, my responsibility is to stay authentic to myself and let others interpret my work in their own way.

I would love to know a little about the feedback you've received from listeners or critics about what they thought some of your songs are about or the impact it had on them – have there been “misunderstandings” or did you perhaps even gain new “insights?”

Feedback can be helpful, but it’s tricky. It’s important to be open to constructive criticism, which can help you understand what’s working and what needs improvement. That being said, it's important to consider the source of the feedback.

I've received both positive and negative feedback. Sometimes, when someone I care about doesn’t appreciate my music, my first reaction is to feel bad. But then, I remind myself that this feedback can be constructive for me. I genuinely like the music I create, and I know it’s impossible for everyone to appreciate it. I always try to take feedback seriously and treasure it. Feedback that points out specific weaknesses in a composition while offering suggestions for improvement can be incredibly helpful.

As an artist, it’s essential to have a clear vision and to follow it through. The learning never stops.

Do you feel as though writing or performing a piece of music is inherently different from something like making a great cup of coffee? What do you express through music that you couldn't or wouldn't in more 'mundane' tasks?

While making coffee can be a mindful and satisfying ritual, it’s more about following steps and creating something functional. Music, on the other hand, is an act of deep personal expression. It’s about conveying emotions, thoughts, and experiences that can’t always be captured with words or actions in daily life.

Music allows me to channel my inner world, my complexities, my highs and lows, into something tangible. It’s a way to process feelings or explore ideas that might not fit into the structure of day-to-day life.

In a way, music is a space where I can be completely free, breaking boundaries that the more routine tasks of life don’t offer. It’s not just about creation—it’s about communication, connection.

What is a music related question that you would like to add to this interview for other artists to respond to – and what's your own answer to it?

How do you discover new music for yourself as a listener?
When hiring crew members, what are some of the qualities you look for?
How do you organize your music?