I love Ableton's vocoder and Operator for basic side subs and general low-end.

I really don't care if anyone thinks I'm special or not, I just want to be able to live my life without thinking about money all the time, or where I'm going to get it.

All of those 10cc 'Not in Love'-type synthetic choir sounds on 'Replica' are all from the Omnisphere. We used a lot of that.

Eccojams are a very simple exercise where I just take music I like, and I loop up a segment, slow it down, and put a bunch of echo on it - just to placate my desire to hear things I like without things I don't.

When I make music I try to be as honest as I can to how I experience the world. Like how you arrange a piece of music formally. I tend to observe a lot of chaos or whatever, the fragmentation and melancholy. That's the filter I synthesize my world view with. If I didn't formally have that chaos and it was really linear, it would make my skin crawl.

I've always been obsessed with the grain of the human voice. It's the ultimate instrument, there's this whole level of virtuosity and poetry, a sort of athleticism, of controlling your voice.

No one is mediating aesthetic choices on an OPN album other than myself.

I like explication of ideas, even if I'm wrong or even if it's a struggle or if it's a work in progress.

The easiest way for me to tell someone what I do is to say that I'm a non-musician who practises and produces music. I don't have a theoretical language for music. I have this abstract dream language.