Games is like hardwired plumbing in the house of pop. It's not pop itself, its sort of like the behind-the-scenes arteries and capillaries of pop music.

I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’

It can be really weird to say, 'Hey man, let's make a record and start with this horrible zither sound.' But I was obsessed with the idea of taking a sound and completely phenomenologically thrashing it."

It's such a contentious thing to get people in a room and just say, "go!"

We seem to invest so much time and belief that those things are stable in some way - something to build towards, or something to use to better understand where we come from. So often those expectations are just so out of line with how the universe works. I don't see it as a productive way of seeing the world, so, when I deal with that stuff formally - or when I try to allow it to inspire me - I'm open to it twisting itself up.

If there is any selfish angle, then it would probably be me just knocking myself in the head, thinking "Is there anybody here? Am I still able to communicate with other musicians?"

I think, if you can only talk about your stuff in a jargonistic way, you're not as smart as you think. You're alienating people who deserve to have a conversation, or a place in the conversation. If you take the complete inverse and are staunchly anti-intellectual, then I think there's a certain amount of resentfulness in that. There's something about that standpoint that feels a little bit insecure.