Matteo Milleri was born on May 19, 1988, in New York City and later learned to treat Berlin like a utility: heat, water, and a kick drum at 126 BPM. You know him as Anyma, the solo alias that turned melodic techno from a mood board into a planetarium show, and as half of Tale of Us, the duo that taught an entire generation to cry politely in a warehouse. The gossip pages chase his love life and his Sphere guest list. The dance floor chases something simpler: will he play the one with Grimes, and will the drop feel like a cathedral collapsing in CGI?
Milleri runs two careers that share a passport. Job one: long sets, forward music, community curation, the boring word that built Afterlife. Job two: headline opera for people who hate opera but love subwoofers. He told Billboard the split is explicit: DJ nights are about selection and length; the big productions are the last act of Vegas wearing different shoes. Most artists lie about that duality. He invoices both.
Tale of Us: Milan school, Berlin church
Milleri met Carmine Conte (MRAK) at the SAE Institute in Milan, which is where nice European boys go to learn compression before they learn compromise. Tale of Us surfaced in the early 2010s with releases on Visionquest, M_nus, and R&S: the holy trinity of sounding serious in a black T-shirt. They relocated to Berlin, the city that awards citizenship if you can look melancholic next to a strobe.
As a duo they were never just producers. They were selectors with a narrative arc: long blends, devotional energy, records chosen like scripture. Their 2017 album Endless on Deutsche Grammophon was the tell: these guys would eventually DJ inside a classical label before they DJ’d inside a golf ball in Nevada. In 2016 they launched Afterlife in Barcelona, a party that became a label, a booking agency, a visual language, and a reason to visit Fira Gran Via with your best funeral outfit.
Corporate drama in 2026 put Milleri alone on the management letterhead of Karmat Music GmbH while Conte exited the director role amid shareholder fights. Tale of Us has not issued a breakup press release; the last widely reported shared booths were Afterlife in Tulum in January 2025. For the booth, the story is already solo: Anyma is the name on the marquee when the LED budget exceeds the GDP of a small nation.
Anyma begins: Sentient, Claire, and the robot girlfriend era
He introduced the Anyma project in 2021 with the EP Sentient on Afterlife, then Claire, a three-track release whose title track shipped with an NFT video because even his B-sides wanted a render farm. The aesthetic landed fast: humanoid EVA, Alessio De Vecchi visuals, questions about consciousness typed in Helvetica over a kick.
Genesys (2023) made him Beatport’s top-selling artist that year and put melodic techno on charts that still think EDM is a personality disorder. Singles like “Consciousness,” “Eternity,” and “Welcome to the Opera” (with Grimes) became festival shorthand: hands up, but philosophically. He played Tomorrowland’s Freedom Stage and treated CGI not as decoration but as co-DJ, the only partner who never asks for a higher fee.
Speaking to GRAMMY.com while closing the trilogy, he argued Genesys hit a ceiling inside melodic techno: “it reached a point where it cannot be done better within the genre I’m working with.” That is either artistic maturity or the best excuse ever to stop playing the same BPM for tax purposes. He framed the trilogy as a captured moment, not a treadmill. Touring artists usually buy treadmills.
Where he actually DJs (when the robots stay home)
Before Sphere turned him into a Las Vegas weather event, the club resume was already obscene. Afterlife showcases across continents. Coachella (2024 main-stage energy, 2025 campground sets, 2026 chaos). Ultra Miami 2025 with a b2b with Solomun, proof that two men who own melancholy can still share one mixer without filing for emotional divorce. Sziget, Zürich Open Air, Istanbul’s Ataköy Marina Arena, Melbourne’s Always Live: the usual atlas of a DJ who sells tickets by promising feeling, not footwork.
Ibiza is the honest home base. He married model Vittoria Ceretti there in 2020; the island also hosts his farm, his goats, and the Tuesday residency at [UNVRS], the hyperclub Yann Pissenem built when Hï started feeling quaint. Opening night July 2025 (branded Quantum) reportedly ran 33 tracks, heavy on unreleased Anyma and friends from the Afterlife orbit: Jast, Goom Gum, Cassian, Layton Giordani, Adriatique and Son Of Son on support, Solomun in the crowd taking notes like a tenured professor of vibe.
He told Schön! the venue lets him “dissolve the line between reality and the digital,” which is Ibiza PR for we spent the budget on shutters that open at sunrise. Personal highlight: Tuesday sunrise with the room inside the story. DJ as playwright, crowd as extras who paid 80 euros for water.
Sphere: when the booth is a planet
In late 2024 and early 2025 Milleri became the first electronic artist booked at the Las Vegas Sphere for the residency Afterlife presents Anyma: The End of Genesys. Six shows sold a reported 100,000 tickets in 24 hours, because scarcity plus robots equals American tourism. The run expanded; guests included Ellie Goulding, FKA twigs, John Summit, Grimes, Luke Steele, and Yeat (first rapper at the Sphere, because history loves a flex).
This is not club DJing. It is scored cinema you can dance to. V Magazine quoted him calling the final album audiovisual diary work: tracks written as scenes, visuals developed in parallel, 100 concepts killed so the music would not feel like a video game menu. Fair. Most DJs’ “concepts" are a logo and a USB sticker.
Pyramids of Giza, League of Legends World Championship in China, Vetements Paris Fashion Week with Chris Avantgarde: same thesis, different ticket vendor. He co-directed LoL’s opening ceremony and remixed the official song. Somewhere a purist is screaming into a void; somewhere else 50,000 phones are recording the void.
Sound: melodic techno that learned pop’s phone number
Anyma’s genre tag is melodic techno, which in 2026 means hypnotic kicks, mournful synths, and guest vocals from people who actually own mascara. The End of Genesys (2025) pushed toward pop structure on purpose; Billboard noted the collab roster reads like a group chat with budget. Lead single “Hypnotized” with Ellie Goulding hit No. 1 on Billboard’s Dance/Mix Show Airplay chart, his first U.S. chart-topper, proof the radio still matters if you bring Goulding and a dystopian chord progression.
For straight DJ sets he stacks his own IDs, Afterlife family cuts, and remixes (including a cheeky Prodigy flip on later compilations). Beatport dominance in 2023 was the industry scoreboard he never needed to quote on mic. The philosophy is consistent: technology, nature, humanity, coexistence, said out loud often enough to become a brand pillar.
Launching ÆDEN Records in August 2026 (Interscope/Virgin distribution) he told press that building a community of artists has always been the goal. The debut compilation Digital Renaissance Vol. I spans Argy, Colyn, Kevin de Vries, Volkoder, and others, described in trade press as multi-genre but “always with a melodic core at its heart,” which is also how he sleeps at night in Ibiza.
ÆDEN, Coachella winds, and the Do LaB save
February 2026 brought the ÆDEN World Tour announcement: science-fiction futurism plus ancient mythology, twelve countries, summer Tuesdays back at [UNVRS], Paris finale in December. DJ Mag quoted the lore: an intelligence uploaded to a digital cloud called ÆDEN, testing whether immortality keeps you human. Perfect. Every DJ needs a ontology.
Coachella weekend one in April 2026 cancelled the staged ÆDEN premiere when wind refused to let the production stand. Milleri pivoted to a last-minute set at Do LaB, the festival’s pressure valve for people who actually came to dance. Weekend two got the full show: digital columns, serpent imagery, guests Lisa, Joji, Swae Lee, Matt Bellamy. Billboard called it world-building; the campground already knew he could DJ without a hydraulics team.
Shanghai reportedly hosted the largest electronic headline show in Chinese history for ÆDEN’s debut stop. London got stacked IDs and production in June. The through-line: if the spectacle breaks, the selectors skills remain, Sven Väth approved cardio optional.
Sidebar voltage (mostly not about BPM)
Tabloids tracked his relationship with Grimes and, later, sightings with model Stella Maxwell. He does not need that noise to sell tickets, but it keeps his name in feeds between Tuesday residencies. Milleri told Billboard his agent frames both Tale of Us members as focused on solo work, which is the politest possible “no comment.”
Off-stage he claims to be domestic: Ibiza farmland, goats, sea, Netflix, and an hour of exercise daily after Sven Väth told him he looked tired on tour. If a German techno elder calls you washed, you do push-ups and book another Sphere.
DJ Mag placed him #10 in the Top 100 DJs list for 2025, the first time he cracked the top ten, which is the industry’s way of saying the robots paid off. Oakley partnership, Kobalt publishing, CAA roster: the infrastructure of a DJ who is also a franchise.
Quick facts
Born: 19 May 1988 (New York City; raised Italian-American, Berlin-based).
Aliases: Anyma (solo); Tale of Us with MRAK.
Labels / platforms: Afterlife; Interscope partnership; ÆDEN Records (2026).
Style: Melodic techno, progressive house edges, pop collaborations.
Key booths: Afterlife global; Tomorrowland; Ultra Miami (b2b Solomun); [UNVRS] Ibiza residencies; Sphere Las Vegas (2024 to 2025).
2026 arc: ÆDEN world tour; Coachella (Do LaB + main stage); summer [UNVRS] ÆDEN residency.
In his words: Genesys said what it had to say; ÆDEN asks if a uploaded mind stays human; Ibiza sets dissolve reality and digital.