“[It’s] almost like a very slow improvisation… I like to think of the music as writing itself. I’ll have ideas of fragments, chords, sketches, but I’ll listen to the music and what it wants to do, and follow that instinct, rather than trying to impose a pre-defined structure.”
"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’m not saying that music is the notes of the piano, and philosophy is just the words. There is philosophy in the notes of the piano, and there is music in the words.”
“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.”
"[Moyo is] definitely a collection of me becoming more comfortable with my identity as a black woman, and not being afraid to just make music that is about these things that I have experienced."
“That’s the thing I love about playing live; it’s such a rush because you’re doing things where you’re at the edge of your seat, but if you pull it off, it feels amazing. There’s so much adrenaline going through you.”
"When you’re always made to feel like an outsider, you start thinking 'well, fuck you, I’ll go and do my own thing'.”