“All the compositional techniques you frequently use — form, melodies, how you write, what you write for — are challenged, somehow, because now you have more catalogue from which to choose. It’s not ‘new music’ — it’s very old — but it’s new to you.”
"Not only am I the composer, main performer, and producer of the album, but also the inspiration for it, which frankly, is disgraceful."
“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."
“I work a lot with humour: keeping everything quite silly, and simple. When working with text, I enjoy finding language that doesn’t quite make sense. I enjoy the humour that comes out of finding something that’s just a bit off in both language and music.”
“I’m not so much interested in 'changing the sound', per se. What I’m really interested in is creating sound worlds, and sound paintings. I find that electronically, that is probably the easiest way of achieving that; you can create an orchestra of those reed sounds, just in whatever software you use.”
“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.”
"For organic materials such as shells or leaves, the DNA within these objects can be traced back over multiple millennia and further. To interact with these objects in a musical context is to juxtapose the limited nature of human time with that of the environment."
“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.”
“I really like to explore different sonorities — different sounds that can be used with electronics and acoustic instruments — trying to get some form of middle ground between the two.”
“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.”
“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.”
"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."
“Why do we have these divides between popular and classical music? I just want to make music that people listen to, that I think is cool.”