Beatrix lives where ancient columns dissolve into digital architecture.
On a Wednesday in early April, a new single dropped into the dance music world with the kind of quiet confidence that precedes a wave. "Bad Angel," a collaboration between Italian-American producer Matteo Milleri — who records and performs as Anyma — and the Thai-born global pop force Lisa, arrived with a music video that was less a promotional clip than a short film about transformation. Within days, it had been streamed more than six million times across Spotify and YouTube combined.
The video places Lisa in a white bodysuit, long silver hair falling past her shoulders, inhabiting a character named Beatrix — part human, part celestial being, part machine. The world she moves through sits somewhere between ancient Greece and a far-future collapse, classical columns dissolving into digital architecture. It is a strange, beautiful place, and it belongs to a larger mythology that Milleri has been constructing for years.
That mythology is called ÆDEN. Milleri describes it as a kind of speculative afterlife — a space where human consciousnesses, once uploaded, attempt to coexist alongside artificial intelligences. The conceptual scaffolding, he has said, draws loosely from Dante's Divina Commedia, that medieval map of the soul's journey through realms it cannot fully comprehend. It's an unlikely touchstone for a DJ headlining Coachella, but Milleri has never been interested in the obvious move.
The Coachella debut of ÆDEN happened the same night the interview with Lisa was published — Friday, April 11th, on the festival's main stage in Indio, California. The performance is set to be repeated the following Friday, after which Milleri takes the project on a world tour that reads like a geography of the global club circuit: Shanghai, Brussels, Ibiza, London, and a string of other cities before the whole thing concludes at Paris La Défense Arena in December. It is, by any measure, a serious undertaking.
Lisa and Milleri first crossed paths at Coachella and later again in Ibiza — two places that function, in the world they both inhabit, as something like neutral ground for artists whose work spans continents and genres. The collaboration on "Bad Angel" grew from those encounters, and from a shared instinct about what music can carry when it is built to be experienced in a room full of people.
In a conversation published by Vogue, Lisa described seeing the visual concept for Beatrix for the first time. She said she loved it immediately and felt no need to change anything — that the character and the song already fit together so naturally that adding her own notes would have been beside the point. There is something telling in that reaction: it suggests the collaboration worked not because two artists compromised toward a middle ground, but because they recognized something in each other's vision that was already aligned.
Milleri, for his part, spoke about what he sees in Lisa's work — the way she fuses music, performance, and visual world-building into a single, seamless thing. He used the German word Gesamtkunstwerk without quite saying it: the idea of a total artwork, where no element exists in isolation. He told her that what she does requires dedication and a particular kind of stubbornness, the refusal to let any detail slip below the standard the whole demands.
The graphic T-shirt that reportedly helped spark the song's direction was mentioned in the interview's framing but not elaborated on in the published excerpt — one of those small, specific details that remind you how often the biggest creative decisions begin with something almost accidental, a piece of clothing, a passing image, a conversation that wasn't supposed to be a working session.
With the Coachella performances now underway and the world tour stretching toward the end of the year, the question fans are already asking is whether "Bad Angel" will make it into the live set. Given that the song was built for exactly the kind of space Milleri is about to inhabit for the next eight months, the answer seems fairly obvious. What it looks like when Beatrix enters the ÆDEN universe in front of a live crowd — that's the thing worth watching for.
Notable Quotes
When she first saw the Beatrix character, she loved it immediately and felt no need to offer any input — the concept and the song already felt right together.— Lisa, in conversation with Anyma for Vogue
What Lisa does is not just music — it is music, visuals, and performance at the highest level, all crafted to perfection, requiring dedication and real stubbornness.— Anyma (Matteo Milleri), addressing Lisa in the Vogue interview
The Hearth Conversation Another angle on the story
What actually makes this collaboration interesting beyond the obvious — two big names, one song?
It's the conceptual alignment. Anyma has spent years building a mythology around digital existence and Dante. Lisa has built an entire performance universe around alter egos and transformation. Beatrix isn't a stretch for either of them — she's where their two worlds already overlapped.
The ÆDEN concept sounds almost academic for a dance music project. Does that tension work?
It seems to be exactly the tension Milleri is after. The Divina Commedia as a loose structure for a DJ world tour is absurd on its face, but it gives the project a spine that pure club music rarely has. It asks the audience to feel something, not just move.
Lisa said she didn't want to change anything about the Beatrix character. Is that unusual?
For a collaboration at this level, yes. Usually both parties shape the shared output. Her saying the concept was already perfect suggests she was brought in late enough that the vision was formed — and trusted it enough not to pull it toward her own aesthetic.
What does the six million streams figure actually tell us?
That the audience for this kind of music is larger and more mainstream than the underground electronic world sometimes admits. Anyma has been building toward this crossover for a while. "Bad Angel" is the moment it became undeniable.
The graphic T-shirt detail is mentioned but never explained. Why include it?
Because it's true to how creative work actually happens. The finished thing — the video, the mythology, the world tour — looks inevitable in retrospect. The T-shirt is a reminder that it wasn't. Something small pointed the way.
The tour ends at Paris La Défense Arena in December. What does that venue choice signal?
Scale and ambition. La Défense Arena holds tens of thousands. Ending there says Milleri believes ÆDEN can fill that room on its own terms — not as a festival act, but as a headlining spectacle. That's a significant bet on the project's longevity.