Let’s begin with your sonic roots. Your performances draw heavily from EBM, Darkwave, Punk-Goth & Glam and fetish culture. What was the spark that first pulled you toward these darker, ritualistic soundscapes?

My purpose has always been to make a reflection blossom to whoever discovers me. My Genesis is written from a political change, a visual provocation and a conscious listening. So, I started with genres that in the past of musical history already spoke of these themes, and serve as a means to start from a narrative Nigredo in my artistic and identity expression.

You often say music is a weapon and a portal. With your shows like RED SEA, what kind of transformation or awakening do you hope the audience undergoes during your set?

RED SEA is the name of my Set created for my Atmospheric Sessions (of two hours of duration). Where music and consciousness intertwine. It consists of music, a visual journey and red lights as allegory. Where immersing to find liberation is possible between staging, listening and visual journey. My artistic-musical expression is inspired by the very Genesis of the world, exploring socio-political, economic and power dynamics in search of equality, all through the union on the dance floor. With my creation I wish for the listener to return to an origin, and in unity we reach a message; an awakening, and a social emotionality.—Every detail in my creation has an intention, and a why. And it’s a clear reflection that, the figure of Lilith is an inspiration for my poetry.

Your presence is unmistakable—horned, commanding, almost ceremonial. Can you tell us about the symbolism of your stage persona and how it aligns with your music and activism?

Thank you. My identity as an artist has its roots in Lilith, the first woman of creation, a figure present in Hebrew, Babylonian and Sumerian mythology. Starting from a capitalist Nigredo, an objectification and visual sexualization introducing latex in my different looks designed with different renowned designers for each performance. I think it is clear that with my image I provoke the System in which we find ourselves, and thus, provide a reflection between the contradictions of human beings, between the principles and values and the acts that we, as humans, are carried out. The narrative of my symbols, such as the apple, the snake, the white rose… are ramifications of understanding to my Art, and to a social change by being more conscious of the acts in this world. But if you want to see their meaning I invite you to enter my Red Sea Set, where everything unfolds and you can live the experience in first person.

Let’s talk the intentionality behind your latex facemask and towering horns. These aren’t just aesthetic statements—they radiate power, protection, and provocation. What’s the origin of these iconic elements in your look, and how do they function for you psychosexually or symbolically in the spaces you perform in?

For me the latex narrative and my mask radiate to speak of the human Psyche. Of the Self and the fragmentation of the soul. Of the Persona, the Ego, the Shadow, the Mask, the Archetypes and… Jung. For me there is nothing more psychosexual than talking about the human mind and how the human being has lost meaning in this world, so stimulating that area is what turns me on, and the intention is for it to be mutual, and consensual between the listener and my Art. I love having the musical control to get a reaction in whoever hears me, sees me and feels me. The origin of these elements is to show where we are as a society, and to try to get back to something outside of the visible, outside of matter, where the inner world and the world of ideas, becomes important again.

You’ve played everywhere from Torture Garden in L.A. to Electrowerkz in London and Club Asia in Tokyo. How do you adapt your sets—or don’t—for the cultural energy of each city?

I always try to think about the history of the place where I perform. And go to its Genesis, look for sounds typical of each culture and bring them from the dark to the light. I also do it with my looks in every occasion, and I build a narrative between my Art and a social and cultural topic of the place where I am going to express my Manifesto. When I was in Japan I went specifically to a kimono store in the Gion district, Kyoto, where they showed me each piece, and the whole tradition of wearing it and its celebrations. I found it very interesting so my next step was let myself be naturally surprised for another element of the culture itself where to express something else, and I found a fan with some inscriptions (with meaning) in the temple Tōdai-ji, in Nara that I found more than peculiar to add it in my HVEN Club Set, in Tokyo. I always try to speak from below the surface, from social imposition, or injustice to lead it to a reflection and a why. And thus make messages bloom for those who listen with all five senses.