"I see [visuals] as very integrated into the piece, and the process. I feel like some people make visuals that you don’t need to have with pieces, but mine are very integrated — one doesn’t work without the other."
“It was completely about 'let’s play how we feel', that’s what it was all about — communicating with each other, expressing our emotions to an audience — beyond that, it didn’t really matter what it sounded like.”
“I’m just trying to make the most sonically sensuous, magic sound-stuff-thing that I can.”
“The way that I experience music is, in a way, very physical; it’s very often about impacts and certain touches.”
“You see a colour, you see an image, and that is gonna have an impact on how you play a piece, especially if you have some freedom on how to do it. But you, as a player, need to be open to that.”
“I find there’s always lots of music drifting about in my head; like a big ball of yarn, with strings you can gently pull to see if they unravel.”
"As a creator, not only has it been difficult to find the inspiration to create art, it’s also been really difficult to discover new music that just clicks with me, that gives me the spark and the desire to write new music."
“I came, genuinely, from just wanting to compose. I’ve had an orchestra playing through my head since I was nine, and I didn’t know how to notate it.”
"Rather than “the system is the piece”, the system is creating something which then I may or may not feel free to change and adjust. It became more of a balance between the abstract and the process."
“It’s the interaction between what I’ve created and what that performer is gonna create that I thrive off.”
“Whenever you write something, whenever you make something, you’re trying to discover a truth — “a” truth — whatever that is.”
“Improvising with nonclassical musicians definitely opened me up to the fact that you can use violin in almost any scenario, almost any genre.”
“You need to suspend your disbelief just to accept that somebody’s singing on stage. Anything can be singing on stage; it could be a person called Tosca, or a positron.”
“I just didn’t wanna be sad all the time in my music, I just felt like it wasn’t helping me.”
“I really like absurdity — the space between trying to put a meaning into everything you do, and the fact of knowing that you can’t find meaning for everything.”
"Just like in David Bowie’s song: 'Fame… what you get is no tomorrow'."
"It’s more about catharsis… kind of like a release. You can listen to the album just for the vibes, and be like “I like how this sounds, I like how hard this track goes”, but if you wanted to pay attention to my lyrics and experience the things I’ve been through with me, you can."
"I never set out to be a political composer, or an activist as such. I set out to make art, I channel my frustrations with the system through the medium of art."
“My favourite feeling to make someone feel is confusion, particularly when they’re seeing or experiencing something… especially something they’ve paid for.”
"I think I produce my best work when I’m working cross-collaboratively. They are the most draining creatively, but I enjoy that feeling. I always work with a stimuli, whether it’s another person, or something else."