Your music often reflects themes of individuality and resisting societal pressures. How do these themes play a role in your overall artistic vision and the messages you aim to convey through your music?
My music is freestyled; my unedited thoughts in response to the world around me. I’ve lived in a lot of places and seen a lot of things. Songs help unravel my thoughts and feelings; topics can range from living above a fish spot to more political. Whatever is on my mind. I feel better making music and getting these stressful thoughts out of my head, and having people dance and shout the words at shows is affirming.
Your musical style blends various genres seamlessly. Could you delve into your creative process when merging different musical influences? How do you navigate and transcend genre boundaries in your music?
Most songs start with a sound that I recorded: banging on a pot or pan, screwdriver, flute note, bell, or knocking on wood. My first iPod had music from all over the world from Ethiopian jazz to Bollywood, funk, and hip hop. When I started rapping I was heavily inspired by political rap like Dead Prez, but also Outkast and Soulja Boy. Nowadays I listen to a lot of trap rap/plugg, and experimental ambient/new age music. I merge different genres unintentionally. I’ve tried to make one type of music, but always come back around to being myself.
Starting your artistic journey at a young age, how would you describe the evolution of your musical style over the years? What do you hope listeners glean from your growth and experiences as an artist?
When I was 11 I heard my first rap song “So Fresh So Clean” and started rapping the next day. I sent the YouTube video to everyone in my middle school. On my first mixtapes, I rapped about sweatshop work labor, racism, and wealth inequality over salsa and soul loops. I would rap on anything. Later on, I heard blank body, an artist that makes lots of little notes in their music. I got deeper into making melodies from scratch instead of rapping on other people's beats or flipping Peruvian psych rock samples into weird trap beats. I also had more stories to tell than when I was 11. I found myself making music that I never listened to: The first MARI GETI song had punky vocals, a Persian key signature with plucky notes, a house beat, and a funk baseline. I started shouting and rapping louder in recordings because DIY performances had bad PA systems. I’ve dropped a lot of rap songs, but also a post-punk project with high pitched voices, and a new age synth jazz album with no words. Using glass and foley to emulate nature has defined my sound. My listeners have told me my music inspires them to be more themselves.
Your performances are known for their energetic and unique vocal delivery. How do you sustain such vitality during live shows, and what rituals or preparations do you undertake before stepping on stage?
I brush my teeth, shower, and floss. Make sure that I eat right. I like to feel and smell amazing. I go out there and have fun. I dance, shout, and just let everything go. When I say something out loud and analyze it in song it feels like bringing something into existence, and sometimes… bringing something out of existence.
Regarding your upcoming show in Montreal, what can fans anticipate experiencing during your live performance? Are there any surprises or distinctive elements you plan to incorporate into this particular show?
During performances, there’s a moment when I lie on the ground and become the conductor. I play with the space in the room, interacting with people and moving around in ways people might not expect. There will for sure be lots of dancing. I’ll just rap my heart out and enjoy being present.
Join us at La Poubelle Magnifique. Dec 16. Featuring Mari Geti (NYC) Edo Lee (NYC)
