I think a lot of music that's really innovative is not even considered because it was made by people who had a sexual image. And people assume that it's a commodified thing, so it can't be "indie."

Whenever I'm making music I'm always waiting for the shivers to happen - that's an important thing for me.

I definitely see the voice as an instrument: It makes great drums, great synth pads, great everything. Vocals can be so many things, like, "Hey, I'm Michael Jackson, and this is my iconic voice," or a choir of people sounding like Mozart's Requiem. Mariah Carey is my favorite singer because her voice sounds utterly groundless. It's not even a human voice; it almost sounds mechanical.

If you tell someone you're doing something innovative, they'll think you're doing something innovative.

Usually when I make music, in my head I'm like 'this isn't Grimes, this is just some other project that you can release later, so there's no pressure and it doesn't matter and no-one's ever gonna hear it'.

I love a lot of very sentimental music, but I shouldn't necessarily be the person who makes it.

One thing with Montreal is it's so cold and everyone's so poor and beer's so cheap: if you go to a show you have to brave the weather to get there. So you show up and everyone's soaking wet - there's a sense of 'I trekked through three feet of snow to get here!' I think there's a kind of camaraderie that arises out of that, that's important to me as well.