I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.

That's tangent, but I like the strategizing and thinking about how things are going to fall and thinking of different ways to engage with fans. Ultimately, the goal is for the music to be heard by as many people as possible.

I'm often just writing just to write. I'm not writing with...If I write, like, sitting down with a goal in mind, it's always, like, the worst. It turns into a ska song even if I'm trying to write like a horror movie sound track or something.

It's weird how people hate getting older.

I often envy a filmmaker or a playwright or an author where people are like, "Yeah, I sat down every night and read your book and it was beautiful." Or, "Yeah, I went to the movies and all I did was watch the movie because that's all you could do at the movies." Where with music, it's like, "Ugh, I love your music. I listen to it while I'm jogging thinking about how I hate my body." But it is also the privilege of being a musician is you can have your music in this documented form and play it live and that's, I think, what draws me to it the most.

Going back to the paradigm we live in, the only way to do music is if I can sustain living off of it. If I can't live off of it, I'm not going to be able to make as much music.

When music becomes a job, you all of a sudden have other jobs and you become like a manager of time. If you have no ability to do that, your job gets very hard very quickly.