“If you’re gonna ask what my central ethos for everything I do is, it’s that: build a community, build a scene, get people involved and break down that barrier. You "can" do it.”
"The ‘hysterical sublime’ … As soon as I read that, I knew [it] summed up exactly the world I wanted to create. This collapsing of the sublime and the ridiculous to the point where they’re indistinguishable."
“That’s why it’s called audiovisual music: because it’s not really one over the other, but they both complement each other, and are [as] equally important as each other.”
“It’s not like making a piece of work in a space where the space is just a container for the performance. The two worlds are completely linked — physically, conceptually, and in every other way. So sometimes I’m thinking like an architect and sometimes like a composer, and of course all the bits in between.”
“That’s what it feels like when I’m working with electronics — I feel like I’m creating a moment, a live moment for someone to listen to.”
“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 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.”
"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 don’t conceive composition as a sonic process. For me it’s something that has to do with visuals, with words, with movements… with everything."