The multi-talented musician, singer, and multimedia artist Evita Manji delves deeply into the worlds of loss, rebirth, and the intertwining threads of the human experience. With her debut album, Spandrel?, she begins a profound investigation of personal tragedy and the creative process that emerges from the depths of grief. The music itself embodies a captivating fusion of modern club beats, baroque pop, and experimental soundscapes that tend to evoke a melancholy feeling in listeners.
Her artistic endeavours go beyond music, including fashion, graphic design, and 3D. She immerses herself in a variety of creative pursuits and creates a tapestry of creativity that defies classification. Evita Manji's activism shows her deep connection to the environment and her dedication to bringing about positive change.
Her persistent activism, in which she uses the influence of her platform to promote environmental causes, reveals her deep connection to the environment and dedication to bringing about positive change. As she previously created a charity compilation album for the non-profit organisation Anima, she demonstrates an unwavering commitment to protecting the environment.
The captivating and intriguing sonic landscapes of Evita Manji bring to light important issues like the exploitation of labourers and the disastrous effects of crude oil extraction. She gives her listeners a sense of urgency and empathy by addressing these subjects without reservation. Beyond her musical accomplishments, she exemplifies an unconstrained, open-minded, and perpetually curious spirit.
She skilfully blends the human experience with spirituality, quantum physics, and biology in her music to weave a tapestry of reflection and self-discovery. Inviting listeners to set out on a journey of reflection, resiliency, and transformation, her art can perhaps be seen as a call to action.
Her persistent activism, in which she uses the influence of her platform to promote environmental causes, reveals her deep connection to the environment and dedication to bringing about positive change. As she previously created a charity compilation album for the non-profit organisation Anima, she demonstrates an unwavering commitment to protecting the environment.
The captivating and intriguing sonic landscapes of Evita Manji bring to light important issues like the exploitation of labourers and the disastrous effects of crude oil extraction. She gives her listeners a sense of urgency and empathy by addressing these subjects without reservation. Beyond her musical accomplishments, she exemplifies an unconstrained, open-minded, and perpetually curious spirit.
She skilfully blends the human experience with spirituality, quantum physics, and biology in her music to weave a tapestry of reflection and self-discovery. Inviting listeners to set out on a journey of reflection, resiliency, and transformation, her art can perhaps be seen as a call to action.
First off, would you mind introducing yourself and your work to anyone who may be unfamiliar?
Hi. My name is Evita Manji and I’m a musician, vocalist, and multimedia artist.
Your debut album Spandrel? explores themes of loss and rebirth. Can you tell us more about the creative process behind this album and how your personal experiences with loss and tragedy influenced your songwriting?
The process of making this album was my way of coping (or not) with grief. I was locked in my apartment for a while just making music as it was the only thing I could focus on, as well as learning about the few subjects that would interest me at that time. My songwriting is a combination of expressing my feelings during this period and finding similarities between them and those subjects that interest me as well as exploring hypothetical concepts of how events unrelated to each other can share similarities, like someone’s death and the formation of a black hole.
You recently relocated to London from Athens, where you were immersed in the underground music scene. How has this move affected your creative process, and how do you feel about the current state of the music industry?
London was a quick in and out, I don’t live anywhere at the moment, I’m just travelling and trying to figure out where I want to live next, maybe London I don’t know. I’ve been working on some new music but all this travelling and being around people all the time has made it difficult to stay focused on music but it’s also very inspiring, it feels as if I’ve been collecting ideas and hopefully soon I will lock myself in an apartment again and start working consistently on my next project. As for my feelings about the music industry, I feel like just like all industries, it’s dysfunctional. Of course there are many layers to it and I’ve only been involved in the independent side of it which I think is more fair and respectful towards the artists. Out of all the creative industries though, I think it’s the best one to operate inside.
In addition to being a musician, you're also involved in 3D and graphic design, as well as fashion. How do these different creative outlets intersect with your music, and do you see yourself pursuing any of these other mediums more actively in the future?
I don’t know whether I will pursue those more actively anytime soon, I’m not even practising 3D and graphic design at the moment, I’ve been more interested in physically being present with materials instead of looking at a screen. I think I’m entering a sculpting era. I see all of these mediums, music included, as the threads that make up my never-ending, ever-changing creative tapestry.
You've mentioned that you're passionate about supporting environmental causes and using your music to create positive change. How do you balance your activism with your creative pursuits, and what advice do you have for other artists who want to use their platform for social good?
Sometimes I feel conflicted but I think I’m doing well. As an artist I have to use resources and in a way harm the environment to do what I do, for example contributing to the emissions of the planes I board on in order to play shows. But I’m doing things on a personal level to help the environment and I’m also quite vocal about it, especially about the dangers of the meat and dairy industries. So I think there’s a balance. My advice is to not hold back and speak your mind. Stand by your beliefs. Caring is hot.
One of your releases is a charity compilation album with proceeds going to Anima, a non-profit association that supports the natural environment. What inspired you to choose this cause, and how did you go about selecting the artists to feature on the album?
This is an older release. It was a response to the wildfires that burnt down our forests in Athens and I chose animals because in such cases the ones that get damaged the most but receive the least help and attention are the wild animals, inhabitants of the forest. The selection of artists happened very organically, a combination of music from friends and musicians I admire. It was the first compilation I put out on my label myxoxym so I’m thankful they all trusted me with their music.
Your music has been described as a blend of contemporary club music, baroque pop, and experimental soundscapes. Can you tell us more about your musical influences and how you approach incorporating different genres into your work?
My musical influences are just so so many that it’s absolutely impossible to accurately name them. It’s easier to talk about my experiences that have influenced my music, like being in a children’s choir for years, to my early club experiences, to when I was a kid, wanting to have a band and making music with my dad and his friends. One thing I know for sure is I was always drawn to melancholic music the most. The way I incorporate those experiences and influences in my work is a very organic process, it’s hard to describe. I guess I go through cycles of listening to something particular and that influences the music I’m making at that time.
You've mentioned that your single, Oil/Too Much addresses the toxic effects of crude oil extraction on the planet and all its inhabitants, as well as the exploitation of its labourers. Can you tell us more about your inspiration for this song and why you feel it's important to address these issues through your music?
The beginning of making this song was me coming across the horrifying image of the eye of the fire in July 2021, a result of an accident that occurred in the Gulf of Mexico, responsible for it was of course an oil and gas company. I was already in a state of grief and after learning about this, I just couldn’t stop thinking of all the victims of such events that are the ones the world cares the least about. Those are of course the aquatic animals. I could just feel their pain and loss, the same feeling I had when I was making Eyes/ Not Enough which was a response to wildfires. I always felt deeply for the animals and speciesism is what hurts me the most.
You've said that you don't consider yourself an underground artist, but rather that your success has come from people getting to know and appreciate your work over time. How do you define success in your career, and what are some of your goals for the future?
I don’t consider myself an underground artist for the reason I find this label limiting. I don’t understand why, if someone is proud of their work, they wouldn’t want it to reach as many humans as possible. I have no definition of success, I think it is simply an abstract mindset that has nothing to do with reality. My goals for the future are to stay curious and creative so I can keep on doing what I do and sooner or later have my own farm and take care of my rescue animals.
Your music often explores themes of spirituality, quantum physics, and biology. How do you approach these complex topics in your songwriting, and what do you hope listeners take away from your music?
My lyrics very often have multiple meanings, I like to write about those topics in a way that explores their relationship to the real world and the human experience instead of using them separately. I hope people can understand it, in their own way and for the ones in need to relate to those feelings, I hope they can listen and feel some kind of warmth.
What inspired you to pursue music as a career, and when did you first realise you had a talent for it?
I was always in love with music, I’ve been making music since I was a child. I’m a curious person and very interested in all kinds of mediums so for years I tried many different things other than music. I didn’t realise music could be my main career until I was 20, when I first felt like I was discovering my personal music style. The fact that being a musician and a performer combines most mediums was also a realisation point, because I was confused and indecisive about what I wanted to do for a while. The love and support from my close circle played a very big role too.
You've mentioned that you've experienced loss and grief recently. How have these experiences influenced your music, and how have you coped with them?
My album Spandrel? is essentially a musical diary about my journey with grief and the making of it was my way to cope with loss and grief, it felt like a passage that led me to a new way of being.
What is your creative process like, and how do you go about crafting your unique soundscapes?
It’s random, sometimes I improvise on the piano and find a melody, sometimes I have a vocal idea, sometimes I want to synthesise a new sound and I start from there. Lately I’ve been getting into playing the guitar again.
What advice would you give to aspiring musicians who are just starting out in the industry?
Just go for it!
