Imperfection is perfection.

I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.

I actually found not having a routine was inspiration.

I think Sydney has so much natural beauty; it's just a beautiful city.

My main inspirations come from early '90s Trance, the French electro movement round '06, then a bunch of artists like Flying Lotus, J Dilla, Moby, The Prodigy. So I'd say it's some kind of experimental electronica with a strong hip hop influence. It's chilled, but people can still get super crazy and dance to it.

When I heard Flying Lotus, I was like, 'Wow, okay, everything can be off the grid.'

The minute I saw the front page of the 'Daily Telegraph' - me with my arm around the latest 'X-Factor' contestant - I realised I'd gone into a new realm.

I can't sing, but I'll sing over this chord progression, like, over and over, for however long it takes - sometimes it's, like, two minutes, sometimes it's 20 minutes - until I've found like a hook or something that I'm really happy with. And then, basically, it just like that's my melody, and that's where I start from.

There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.

I think, in the early years, my biggest influences would have been... Daft Punk was a huge one for me, I bought their main record when I was nine; at a young age, I was into music. The Prodigy, Gorillaz were big ones.

There's a lot of creativity in the industry, but I don't necessarily think that the most creative DJs or producers are always the biggest ones. I think it would be nice to see more of an open culture to different music. I think that's happening. With Spotify, I think people are discovering a lot of artists they might not discover otherwise.

In the dressing room, we've just made it really Zen: low lighting, lots of candles, and fresh, healthy food.

With Spotify, I think people are discovering a lot of artists they might not discover otherwise.

I'm a really heavy sleeper. When I wake up I'm a terrible morning person.

It's quite fun to mess with the human voice. It's quite special in the sense that the voice is the #1 instrument that we can connect with; it doesn't sound too alien. I think that's the key is to find the line between sounding human and sounding robotic. That's an area that I like to explore a lot.

Everyone can write their melodies and chords and pianos and guitars, but what hasn't been discovered yet are tones and textures, and that's very exciting. Probably the No. 1 most important thing in my music is not to sound like anyone else.

Honestly, production when you first start can be difficult to wrap your head around.

I'm not thinking about the next record really yet. I kind of want to do a bunch of stuff with Jonathan Zawada, the guy who did the album art. I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record.

I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real.

Once I'm in a situation where I can not do anything for three years and go off the map, I'll focus more on writing. Right now, I want to just make Flume awesome... and big.

The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals? It's very stuck, whereas with electronic music, new sounds are being created.

I've been listening to a lot of music by Arca.

I'm just trying to work out how to write music now, because I've never had the opportunity where my number-one priority is writing music. I don't know how my brain works yet.

I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.

I was an avid Pokemon card collector.

There's a lot of creativity in the industry, but I don't necessarily think that the most creative DJs or producers are always the biggest ones.

I think it would be nice to see more of an open culture to different music.

I'm a huge fan of Flying Lotus. I like The XX's stuff.

What it is now is basically, I'll sit on my computer; I basically kind of play the computer as an instrument, I guess you could say. I guess I play the Mac. And how it works is, say - I have a program called 'Ableton Live.' And, you know, you'll open it up, and it's just blank. There's nothing there. And then you start.

It was a difficult second record. I had moments where I couldn't write; had moments where I was writing lots. It was just a massive learning process for me.

Along with 'Free,' where I sing quite a bit, there are additional songs on 'Skin' where you can hear my voice in the background - lots of 'oohs' and 'aahs.' But more often than not, I use my vocals to prompt other rappers and singers to feel calmer, better, bolder.

I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'

The music I was making for people not to dance to was the one they were dancing to.

I did a few DJ gigs at empty clubs, sort of as a warm-up set before Flume was a thing. I did one when I got big enough, and I had five friends come down, and they were the only ones dancing. That was one of my earliest ones. I was super nervous.

I was nine, and I was shopping in a supermarket with my dad. There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.

For me, I would prefer to not have my face on the album cover. I don't mind being in the public, but it's just not really my personality, and it's not really why I'm into this. I like making art, and that's it. I don't really want to be a celebrity, seriously. I like my privacy.

The goal was always to do something that felt human but was 100 percent electronic.

I feel like I need to continuously keep evolving and moving.

I find that if I interact more, the crowd gets way more into the music. We also have a full live show happening, and I have lighting crew that travels around with me. We've got this Infinity Prism thing, which is lots of fun. It's an optical illusion device that we carry around.

I think at first the Flume project really started out as an online thing. I used Facebook and SoundCloud, and I think we got lucky because it felt like a bit of a golden age of those social media platforms. So I managed to create quite a solid fan base online.

Back in the day, I had this fluoro pink hoodie that I thought was the coolest thing ever. Left it at a party and never saw it again. Probably the best thing that could have happened.

I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly, it's my job, and people are asking, 'Where's the record?'

What it is now is basically I'll sit on my computer; I basically kind of play the computer as an instrument, I guess you could say. I guess I play the Mac.

I've never been a rap guy, I don't really know that much about rap music, to be honest. I like it, but I think what really happened was just my music seems to work so well with rap music.

I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record... We'll see.

The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals?

Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.

Sydney's beautiful, the weather's great, and the air's fresh and clean, but it doesn't have the scene and the amount of likeminded people. At home, things are very comfortable, but I feel like putting myself out there a bit.

It's always the first 10,000 SoundCloud listens; that was definitely a big moment, seeing the online stuff grow and crowds grow.

I'd like to actually work with a lot of other people, and whether it's someone who is completely unknown who I love and think is a talent, maybe I'll work with them, or, like, maybe I'll work with some of the biggest pop stars and write music for them.