I like Philip Glass. I think he's made some really great contributions to his field. I love his style of playing - it's very loop-style.

I love my Fender Rhodes. It's been a part of my family since that keyboard came out, and I've had it reworked so that it's in the best condition it's actually ever been in. That is my baby.

I don't have a great story, but I love Boards of Canada. I didn't get into it when it was happening; I got into it later on.

I grew up in the San Fernando Valley, which doesn't feel like L.A. It's a bit different. It's still L.A. County, but it's not the same, it's not the kind of place where they embrace you for being a weirdo. You were just left alone with your Nintendo, and that was my life.

When I got into music, that was another way to be by myself.

People don't really care to be around you when you're going through tough times.

I actually really liked the music to the 'Friday the 13th' Nintendo game. I still listen to it all the time. I sampled it in a couple records, too. It's hypnotic and dark but also really pretty.

Reading music has opened up me up so much. I've been experimenting for so long and trying to make sense of things just from my ears. It takes forever. Now I can get where I want much quicker.

I go through phases where I'm not into jazz as much, and then I'll get heavy, heavy, heavy into it.

I always feel like the past informs my present musically.

I'm so thankful that I had music to turn to in the dark times and be able to understand myself through it.

I like to stay in the space of creativity, and I want to go towards that all the time.

It's okay to not be working all the time and to be gentle on yourself when you're not. When it feels like you're losing that inspiration - or you're in a rut, not making stuff, and your head gets all weird - be gentle on yourself. Just ease into things naturally. But you still have to ease into it: you still have to sit in the chair.

I believe there's more than this - that maybe, when we die, our brains conjure up some kind of shutdown experience, and that's what people try to sum up as the afterlife.

I know what it's like listening to Aphex Twin driving down the beach.

'Cosmogramma' is basically the studies that map out the universe and the relations of heaven and hell.

I wish I could write music notation. Even if I couldn't play it, I wish I could just write it.

I go through phases when I'm super into my anime stuff.

There's no person I aspire to be. I'm just doing my own thing and seeing what happens - not looking to something and trying to be that.

Meditation is a really powerful tool I have for life now. The only reason I know about it is because I was stressing about writing and a friend taught me it. It's been useful.

I'm always really curious about, you know, 'How do you deal with success psychologically?' and all this stuff.

I feel like I ask people who have been in the industry for a while a lot of questions.

What So Not used to be a lot more dance-y, and now it's becoming a lot more melodic. Flume has always had that melodic thing, but it's starting to become a bit heavier, so it's just difficult to navigate between the two.

I love heavy music. I keep Flume nice and melodic, so I save the angry, testosterone-fueled heavy stuff for What So Not. I think it's a good defining thing for the two projects.