All Photography: Dario Pigato (@youngpigs)
Known as “the angel with the night sunglasses” in reference to the title of her 2016 EP of the same name, M¥SS KETA, is one of the most captivating characters to emerge from the Italian music scene in recent memory. Toying with the concept of anonymity in a socio-cultural era geared towards hyper-inflated identity, the Milan-based rapper has long sported masks for aesthetic purposes prior to the COVID-19 outbreak.
Emerging from the creative collective MOTEL FORLANINI in 2013 having garnered considerable buzz in Milan’s clubs, her characteristic sharp lyrical delivery served over the top of electronic instrumentals has resonated on an international scale. With a discography that is heavily catered towards live performance—she possesses the imperious presence of a pop superstar, often appearing to be most at home, on stage. Purposely enigmatic, her sultry voice, strong Milanese accent and eccentric outfit choices juxtapose the permanently fixed sunglasses that sit beneath a blonde fringe.
Her latest album, “IL CIELO NON É UN LIMITE” was conceived during what she describes as a break from the ordinary. She recalls the indescribable energy she distinctly recalls experiencing in performances at Berghain, as well as her sources of inspiration. All her responses were intentionally delivered in CAPSLOCK, a signature of her vernacular.
Your latest EP is titled IL CIELO NON E´UN LIMITE (The sky is not a limit). How do you define a limit?
A LIMIT IS WHAT STOPS US FROM DOING OR THINKING SOMETHING: IT’S A RESTRICTION ON THE POSSIBILITIES WE HAVE. I THINK IT’S IMPORTANT TO TRY TO AVOID LIMITS THAT BLOCK OURSELVES FROM OUR VISION, AND THAT’S WHAT I TRIED TO EXPRESS WITH “IL CIELO NON É UN LIMITE”.
IN A TIME WHERE PHYSICAL LIMITS AND RESTRICTIONS ARE PART OF EVERYDAY LIFE, I SEE THIS EP AS A CELEBRATION OF OVERCOMING THESE LIMITS IN OUR MINDS, STARTING FROM A REFLECTION ON TECHNOLOGY, HUMAN NATURE, AND THE SPACE WE LIVE IN.
The DJ booth at Berghain has been an unattainable dream for many DJ’s. What have your experiences been like there and more generally in Berlin?
THE TWO SHOWS I PLAYED AT BERGHAIN HAVE BEEN SOME OF THE MOST POWERFUL PERFORMANCES IN MY CAREER. THERE IS SUCH AN ENERGY IN THAT BUILDING WHICH IS HARD TO DESCRIBE IN WORDS, IT NEEDS TO BE EXPERIENCED.
IT’S NOT BY CHANCE THAT BERLIN IS ONE OF MY FAVOURITE CITIES, EVERY TIME I’M THERE I CAN FEEL SUCH AN EXHILARATING SENSE OF VITALITY AND GOOD VIBES.
Has your ability to make music been affected by the fact that the environments which would normally be playing it have been closed?
OF COURSE, THE SITUATION HAS IMPACTED MY MUSIC—EVERYTHING WE DO IS DEEPLY CONNECTED TO THE ENVIRONMENT WE LIVE IN. THIS EP HAS BEEN CONCEIVED IN A TIME THAT REPRESENTS A COMPLETE BREAK FROM THE ORDINARY, AND I THINK IT REFLECTS THIS FACT. MOREOVER, THE IMPOSSIBILITY TO PLAY SHOWS DURING THE CONCEPTION OF THIS PROJECT HAS BROUGHT A DEEPER ENERGY INTO THIS EP, ALMOST A PRIMAL WILL TO EXPRESS OURSELVES INSTINCTIVELY THROUGH THESE SONGS.
Early M¥SS KETA tracks like ‘Milano, Sushi & Coca’ spoke a considerable amount about the reality that you found yourself surrounded in. As your audience has grown, has this impacted on what you are trying to communicate to them?
AS THE AUDIENCE CHANGES, WHAT YOU HAVE TO SAY CHANGES TOO. THE TWO THINGS ARE CONNECTED.
WITH A WIDER AUDIENCE YOU HAVE TO FIND DIFFERENT WAYS TO EXPRESS YOUR OPINION, TO CONVEY YOUR MESSAGE—THE IMPORTANT THING IS NOT TO COMPROMISE YOUR VALUES WHILE DOING SO.
A common thread throughout your discography has been a conscious promotion of inclusivity and a broader understanding of equality—your music has close ties to Porta Venezia, which has historically been regarded as the most inclusive space for the queer community in Milan. Do you think musicians have a moral obligation to stand for important issues in their art?
THERE IS A ‘POLITICAL’ RESPONSIBILITY WHEN YOUR ART HAS AN AUDIENCE, BECAUSE OF COURSE YOUR THOUGHTS, IDEAS AND VALUES TALK THROUGH YOUR SONGS, OR WHATEVER OTHER FORM YOUR CREATIVE OUTPUT TAKES.
I THINK THIS IS UNAVOIDABLE WHEN YOU HAVE SOMETHING TO SAY – YOU NEED TO CONSIDER THE AUDIENCE YOU ARE TALKING TO AND THE POSSIBLE EFFECTS YOU AND YOUR MESSAGE CAN HAVE.
In the remake video of Le Ragazze di Porta Venezia, the title credits include a manifesto which reads “All different, but equally provocative”. What is provocation for you?
I CONSIDER PROVOCATION A CONSEQUENCE OF FREE EXPRESSION. WHENEVER YOU SAY SOMETHING SOCIETY DOESN’T EXPECT FROM YOU, YOU PUSH PEOPLE OUTSIDE OF THEIR COMFORT ZONE, AND YOU PROVOKE. I THINK GENERALLY IT IS QUITE CONSTRUCTIVE BUT YOU HAVE TO GIVE CAUSE FOR REFLECTION, OTHERWISE, IT’S JUST PROVOCATION FOR ITS OWN SAKE.
Your image centres around the idea of eccentric anonymity—what influences your fashion choices?
MY IMAGE HAS MANY INFLUENCES, FROM ANCIENT GREEK THEATRE TO POP CULTURE—I WOULD SAY I AM THE PERFECT MIX OF SOPHOCLES AND BRITNEY SPEARS.
FASHION IS A KEY FEATURE IN MY PROJECTS, AND SPECIFICALLY FOR THIS EP THE STYLE I WENT FOR IS VERY COLD AND ARCHITECTURAL, WITH CONSIDERABLE INSPIRATION LIFTED FROM GRACE JONES, HELMUT NEWTON AND SCI-FI VIDEOGAMES.
How would you describe your 2020 in one M¥SS-lyric? Mine, without any doubt, is “I can’t stand but I keep posing.” (“Non sto in piedi ma sto in posa”)
“NOT EVERYONE CAN CYCLE IN HEELS, BUT IT’S NOT A PROBLEM FOR MY LOUBOUTINS” (“PEDALARE COL TACCO NON È CERTO DA TUTTI, MA NON È UN PROBLEMA PER LE MIE LOUBOUTIN”)
What will you find under your Christmas tree?
ME AS A SUPER SEXY SANTA CLAUS 😉
Watch M¥SS KETA perform IL CIELO NON È UN LIMITE live at Milan’s Torre Galfa below.