Yeah, I tend to tinker with things that I love. It's habitual.

I think nostalgia used purely for the sake of emotional reminiscing is extremely boring.

Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.

The films of Gregg Araki may not be classified as horror, but they have been known to horrify viewers.

My friends and I have often discussed the plausibility of a connection between qualitatively bad music and quantifiably successful music, often citing the example of Candlebox and their paradoxical influence on culture.

The problem with depicting what's weird and what isn't is that it's got to this point of near total oversaturation. There's definitely a threshold at which that language and experience becomes tedious. How can something be weird if everything is apparently weird?

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.

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.

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

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.

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.

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.

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

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.

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

Personally, I've always been ashamed of my body and I've hated being so skinny - I had an eating disorder for so long.

I genuinely do want the world to change in a positive way, but I wouldn't call myself an activist, you know? I'm an entertainer who engages with activism because it feels really meaningful for me.

I've been taking medication for depression and anxiety ever since I was a teenager and I've had treatment for both.

There's entrenched homophobia behind the scenes at all levels of the music industry.

We have to listen and learn from each other to lift each other up, so we can all live the life we deserve.

I identify as a gay man all the time, but I also like to identify as queer.

I'm not saying that being straight is easy, but when you're gay, you don't really have a familial network or support system. You have to find that.

Solitude is very restorative for me, especially because I spend so much time around other people and performing to people.

My dad had been very absent, even when he was there. Then he left the family and moved away. Our relationship, it feels to me, ended when I was 13.