It was never the goal to be a solo performer. It was just something that made the most sense at the time.

If you've become a huge act and you're still doing the same music you wrote with your friends when you were making zero dollars, you're lazy.

I always want my mouth to be like two steps ahead of my brain and I want my hands to move without thinking. I want to be able to dive into my computer or use my controllers without having to be, like, Hmm, what would be a good choice here? You just want music to happen like the same way the sweat's rolling off my face.

I throw ideas out into the open when I really should just be writing them down in a journal.

Live performances make music important. Recording is cool and fun, and it's nice to document the thing you made, but the goal in my mind is to perform.

I'm often just writing just to write. I'm not writing with...If I write, like, sitting down with a goal in mind, it's always, like, the worst. It turns into a ska song even if I'm trying to write like a horror movie sound track or something.

That's tangent, but I like the strategizing and thinking about how things are going to fall and thinking of different ways to engage with fans. Ultimately, the goal is for the music to be heard by as many people as possible.

For the last three years, I've been working on 'Bromst,' and that's all that encompassed my brain. And now that it's out, it will change the way that I think musically.

You can have a table full of gourmet food, but the minute you put a box of Entenmann's doughnuts out, that's all people are gonna talk about.

I've since become really good at overwhelming myself.

I think as this generation of electronic musicians goes on, popular electronic music will be more and more accepted. It's gonna get less confusing. You know, most people called rap stupid when it started, and it was one of the most innovative music forms of its time.

I think the best live shows take you out of the moment into somewhere else and I really...This can be true of recorded music too but my favorite live experience is sort of this transcendendent - is that the word? Transcendental?

I think the hardest part is figuring out what to say no to because the whole start of your career is just begging anybody to let you perform or to contribute music to something. Then it's like turning on a faucet because the moment it's on, people are like, Oh, you can do stuff? All right. Well, you want to do it every single thing?

You know, most people called rap stupid when it started, and it was one of the most innovative music forms of its time.

I just wanted to make a record that wasn't escapism. Like, I didn't want to write another record that was devoid of meaningful content.

When music becomes a job, you all of a sudden have other jobs and you become like a manager of time. If you have no ability to do that, your job gets very hard very quickly.