Yoniro

Hi Arnau! My earliest memory related to music dates back to when I was about four or five years old. I was in the living room at home, and the movie Patch Adams was on TV. In one particular scene, Beethoven’s Für Elise was playing. That melancholic and sad melody became an obsession for me, and from that moment, I started dreaming about playing music one day.

Dance has had a huge impact on my music journey. I’ve always studied dance, but the turning point came around my second year of high school. I was at a dance competition, and I saw a group of dancers performing contemporary dance to a track by Apparat. Before that, I had never really been exposed to experimental electronic music. It was another epiphany for me. I ended up leaving my school to study with them. From that moment on, I had the chance to fully immerse myself, both mentally and physically, in electronic music.

This shift also happened thanks to dance. I had grown tired of the Conservatory, both physically and mentally, so I decided to spend my last years of high school studying all types of dance, including hip-hop. We didn’t just study the techniques but also the history and culture behind each discipline, so I fell in love with Turntablism on vinyls. At one point, I even started thinking about joining the Zulu Nation one day.
All of this had a huge impact on my music production, and I think you can clearly hear every influence in it. I believe that’s why it took me almost ten years to build my own sound, but in the end, when you listen to what I create with my team, you can tell it’s somehow unique.

H e a v e n s has been the project that allowed me to fully break away from my old production, especially my Italian album. Through this EP, I truly understood where I wanted to go, how I felt performing those tracks, and how others felt listening to them. It allowed me to let go of my last fears and work on QNTM, knowing exactly what I wanted to hear. QNTM is the evolution of H e a v e n s — the sound is more refined, and nothing can be misunderstood anymore.

QNTM stands for Quantum. The lyrics of the EP are built around concepts from quantum physics, a topic I’m deeply connected to, especially because of its philosophical implications.

My entire work revolves around the overarching theme of technology. I believe that both my lyrics and sound make it clear that I’m a millennial. As a result, I carry with me the chromatic melancholy of our times, and I express it by integrating these influences into my music.

The truth is that this track was originally meant to be a collaboration. I was in the studio with another artist, and her experiences in the music industry had given her significant trust issues. As I listened to her vent about these topics, I immediately thought it would be powerful to dismantle those ideas and create a new paradigm where we could trust the people in front of us. The new paradigm would be exactly that: not seeing others through the lens of past wounds, but believing once again that we can rely on each other.

I believe that all art is political. I also think that art is a form of catharsis for the individual, not only in relation to the inner struggles of personal relationships but also to the times we live in, and the social conditions we experience. Inevitably, my music reflects my frustration and dissent toward the system I live in. I’m never overly explicit, but art doesn’t need to be explicit to be political. I have my own ideas, and these ideas shape my work.

I’ve been waiting for this question for a long time, because, as you pointed out, the portrayal of women as angelic beings has always been a way for the patriarchy to trap women’s personalities. It’s a theme I address in the lyrics of Paradise, the final track on H e a v e n s, which is a critique of the music industry. No one looking at my work, especially from a visual standpoint, could ever think I’m trying to present myself as a pure and chaste angel.
My image is very strong, especially in a context like Italy, which is still quite closed-minded. You could say it’s a ‘hot’ image, but with deep thoughts. It’s an invitation to look beyond appearances and start listening to what women are actually saying. That’s all. The fact that I’m ‘hot’ shouldn’t matter more to you than the fact that I have a brain. It’s unfair that, in order to have my thoughts taken seriously, I would have to fit into this angelic image.

I started studying religions, philosophy, and psychology when I was a teenager. It’s a journey that hasn’t stopped, as I’m still processing my thoughts and opinions. I don’t think there are any concise answers on this topic; the conversation about God is vast. The rapid development of AI has sparked even more questions for me.
This is to say that my spiritual discourse also includes arguments related to technology, for example. I believe there’s something more out there, and while I don’t feel the need to define it, I enjoy philosophical speculation about it. I hope to never lose my interest in this — it’s a great source of inspiration.

During my studies related to spirituality, I naturally explored esotericism and archetypal psychology. There was a period in my life, between 2018 and 2021, when I was very connected to astrology and tarots, viewing them more through the lens of psychology and the study of the unconscious and its symbols rather than as tools for magic. This is how my ideas around La Muerte developed. While I no longer have that same connection, I am well-acquainted with the cards and their symbols. During the pandemic, they were a significant part of my creative process.

I’m currently planning my European tour, and I hope to also travel between Australia (my second home) and Asia. In the meantime, I’m already working on my album, which will likely be released in early 2026. It’s going to be another immersive phase of deep study within a meta- ancestral reality.