I try to get my subconscious to puke out as much stuff as I can because I'm really not judging myself while making music. If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away. There has to be an entry point to learn about myself, or an idea I've never tried, because then I can try on a new skin and see the world through a different perspective. If I have that spark, then I'll save the file.

Something I keep coming back to in my music is the tension between two extremes: healing and chaos, hope and anxiety - these big themes are inside us, flickering, all day.

I do love voices so much that I will use them and manipulate them. The presence of a human voice in a piece of music is really exciting, even if it's just someone's breathing.

It's been a growth process for each of us to understand why we find certain things beautiful. And if we do find something beautiful, we'll chase it, because you want to understand yourself and what your psyche is creating.

First thought, best thought. I live by that when I make my own music.

A few years ago, I had an interest in making things that felt more like "pieces." That was when I was making a lot of stuff that you could call beats, and it dawned on me that I could say much more nuanced, precise things if I tried to make them more composed. It sounds a bit corny, but I do love the idea that something can make you forget that you're listening and just transport you to somewhere else in your head.

A lot of me figuring out how to love myself more involves finding the things that I'm ashamed of and looking them right in the eye. And something I always find beautiful about Jesse's work is that he finds beauty without any calculation. People say that his work is dark, but he never sees it as such. For him it's all almost about educating people to process why they feel disgust.