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Issue 014: Illangelo
THE P.O.P.
The P.O.P. (Portraits of POPLIFE) documents inspiring individuals who push artistic boundaries and strive for excellence in order to advance the communities around them. Uniting a wide range of talented creatives from diverse backgrounds, this editorial series invites them to share their passions and the impact they've had on the realms of hospitality, music, fashion, art, and design.
Katia David Rosenthal's journey through the art world embodies passion, perseverance, and a commitment to community. Initially situated inside her historic 1920s Little Havana home, KDR305 started off as an organic venture, offering an intimate and unconventional setting for art exhibitions. Today, KDR lives in the vibrant Allapattah neighborhood, marking an exciting new chapter for the gallery and the ever-evolving artistic community in Miami.
POPLIFE visited Katia at her new space for a firsthand look into the evolution of KDR and to discuss her goal to enrich Miami's cultural landscape further.
Photography by Karli Evans
Tell us about yourself.
Who is Carlo Montagnese and who is Illangelo?
Montagnese is my family name, with my beautiful parents originating from Calabria, Italy. Illangelo is my artistic persona, where I channel my creativity. I’m a music producer, mix engineer, and composer, handling everything from production to creating visuals. When I was a teenager, I felt like I needed an alias that would really stand out and capture people’s attention. I tried out many different names, but none of them felt quite right. Eventually, I came up with ‘Illangelo,’ and it just clicked. It felt like the perfect fit with what I wanted to share with the world.
So, I decided to stick with it, and it’s been my creative identity ever since.
How did you get started in music?
Music has been a part of my life for as long as I can remember. Being
the youngest in a family of seven, I was always surrounded by music.
My siblings were like rock stars to me, always in bands and making music. I was just this little sponge, soaking it all up.
I had my first piano lesson when I was about four, sitting side by side with my cousin on the piano bench. Our hands were so small we could barely reach across a few keys. My brother was trying to teach us,
bless him. This went on for years with different teachers, and I loved it.
All through my life, I never stopped playing music, except for once when
I was about 14. At this age, I started to really struggle with classical music. The rigid training and pressure to perform pieces exactly as written felt too restrictive. I wanted to create something new, not just recreate what others had composed. So, I quit lessons. Surprisingly,
as soon as I stopped, I began writing my own songs on the piano. Looking back, I realize that period of rebellion was crucial in helping
me find my own musical voice.
By 16, I had set up my own studio in the basement, using a mattress as a sound absorber to record local artists - very high-tech, I know. I couldn’t stop reading the Mixing Engineer’s Handbook, studying every word. I was obsessed. Watching behind-the-scenes videos of The Neptunes and Justin Timberlake making ‘Justified’ was like finding gold. Remember, this was pre-internet as we know it now, so for a kid from Calgary, this stuff was mind-blowing.
I dove into every aspect of creation - using Photoshop for graphics and any software I could get my hands on to write and produce music. School took a
bit of a hit, but I was so much more engaged in what I was doing at home. The key was that I never stopped. I was having too much fun.
By 18, I was traveling across Canada, working with different artists. I seized every opportunity, achieving some local success, but always aiming higher. I wanted to work with the best in the world, confident that the countless hours I’d poured into my craft would pay off.
At 22, I made the move to Toronto. I had saved enough money from paving to sustain myself for
a year. I worked tirelessly, collaborating with many artists in the city from morning to night.
I was laser-focused and determined. In my final month, just as my funds were running low, I met Abel Tesfaye. We connected instantly, creating music effortlessly together. Not soon after,
we connected with Doc McKinney and started working on House of Balloons. This moment marked the beginning of a new chapter in
my career, one that I’ve been
grateful for ever since.
Where do you draw inspiration from when working on a new album?
Inspiration comes from staying open to the world around me. I don’t try to control the creative process; instead, I observe and capture the ideas as they naturally emerge. It’s about being present and ready when inspiration strikes. Over time, these moments build into an album organically. The key is consistency - showing up every day, putting in the work, and giving it my all. This approach to creativity isn’t just about music; it’s a philosophy I apply to every aspect of my life.
What are some things that you do to get in the right headspace and write music?
If the environment is a safe place to create, then there’s nothing to do but start. For me, that safe space is both physical and mental.
It’s about having a studio where I feel comfortable and free from distractions. But it’s also about being in the right mindset -
open, relaxed, and ready to explore ideas without judgment. Once I’m in that zone, the music often flows naturally.
The key is to remove barriers, both external and internal, and just dive in.
What was the first album/artist that made a huge impact in your life that made you want to make music?
Michael Jackson, without a doubt. My mom has these amazing pictures of me at 3 years old, dancing in my sister’s boots to his Moonwalker movie. It was all I wanted to watch. Even at that young age, his music and performances drew me in like nothing else could. MJ embodies the greatest artist of all time for me - his talent, creativity, and showmanship were unparalleled.
Any thoughts on the younger generation of artists/producers?
Is there a new style/trend that piques your interest or that
you are noticing amongst them?
Any new styles or trends I’ve seen are really just creative homages to brilliant moments in the past. Music is cyclical that way - we’re always building on what came before.
Today, it’s easier to be creative and bring any idea to life at nearly no cost compared to a decade ago. The tools and technology are more accessible than ever. On the flip side, it’s much harder to get people’s attention because we’re all living in such a noisy, content-saturated society. Standing out is the real challenge now.
What really excites me isn’t so much a particular style, but an attitude. The new superpower is having focus and discipline to achieve your goals. When I see young artists with that kind of determination and drive, that’s what gets me excited. It’s not about the tools you have, but how you use them and the vision you’re working towards.
What are your thoughts on AI
and the future of music?
It feels like we’ve stepped into a sci-fi movie. This is probably the most exciting time in my life, but there’s also a lot of uncertainty. The music industry as we know it is definitely in for a wild ride. These AI machines are incredible. To put it in perspective, I usually spend a whole day writing 2 or 3 songs. With AI? You can generate two songs every 30 seconds. It’s like going from a bicycle to a rocket ship overnight.
We’re entering a new era where anyone with a smartphone can create songs. This technology is opening up music-making to everyone in a way we’ve never seen before, which is pretty amazing.
Over Easter dinner with my family, I used AI to generate songs about everyone at the table and what we were eating. It had us all laughing and singing. It was a really beautiful moment that showed me how this new technology will bring people together in unexpected ways.
You are mainly known for working in R&B and hip hop.
What inspired you to get into techno. Do you see a connection between these genres?
My inspiration to get into techno actually stems from my childhood. One of my brothers was really into electronic and pop, while the other was into hip hop and soul. They’d constantly play their favorite songs for me, shaping my musical DNA.
As I’ve evolved as an artist, I’ve found myself increasingly drawn to techno. It’s not as big a leap as you might think - both techno and hip-hop are rhythm-driven and push the boundaries of what’s possible with technology and production.
What I love most about this shift is the chance to create something that feels authentically me. I’m blending elements to make music that truly reflects my journey, exploring sound and emotion beyond just lyrics.
Hailing from LA via Canada,
you are now a Miami resident.
What’s your take on the sunny city?
Living here is a dream. Coming from Canada, I didn’t know much about Miami for most of my life. I was used to endless snow days. But after living here for a few years, I’ve fallen in love with this city. Miami has become my favorite place in the world and it feels like home in a way I never imagined.
I made a choice many years ago to honor and respect all life around me to the best of my ability, causing as little harm as possible. This ethos extends beyond just people - it includes animals, nature, and even how I treat myself. It’s about being mindful of the impact my actions have on the world around me.
This principle guides both my personal life and my approach to music. In the studio, it translates to creating a positive, respectful environment where everyone’s ideas are valued. In my daily life, it means being kind, making
ethical choices, and always striving to leave things better than I found them.