I guess Surrealism has a draw for me because it's an unknown world. It's a world of subconscious. Some things you can't really get your hands on very easily. Things that are kind of nebulous and they feel like they're not completely formed. You have to feel your way through that.

Sometimes I'll have sections that I'm not quite sure how they fit in the puzzle of a tune, they'll get moved around; what I think was originally a verse ends up becoming the chorus, or what's an intro gets dropped as a hook, things get shifted around a lot.

A big part of making music is the discovery aspect, is the surprise aspect. That's why I think I'll always love sampling. Because it involves combining the music fandom: collecting, searching, discovering music history, and artifacts of recording that you may not have known existed and you just kind of unlock parts of your brain, you know?

All the records I've put out have had either artwork that I did while I was young or something that my Dad painted.

Emotionally, I feel mostly out-of-depth, like I will never quite learn how to be what I should be. And that makes me feel pretty vulnerable a lot of the time.

When I started covering The Beatles and The Rolling Stones in a rock 'n' roll band, it helped me realize that my natural voice is actually really high. It helped me find my voice.

I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.