I definitely wanted the second record to be a much more grandiose thing. I wanted to push myself and make a big statement.

I don't think I make dance music. It's not even 4/4. And it's slow.

I know how to make a record that commercial radio or Triple J will smash now... It's kind of hard to stay true and write what you would write if you didn't have that in your head. Because I know I can get way more airplay and get this much bigger... and that's what I'm trying to avoid doing. Trying to avoid the poisons of success.

Combining sounds that are from another universe with the classic songwriting structures never gets old for me.

I feel like the first record was really finding my feet, figuring out what music I wanted to make... Now that I've done that, I feel like I've got a much clearer idea of what I want to sound like and what I want to discover. It's exciting.

Australia is so influenced by America. It's kind of in-between the U.K. and the States.

I want to fuse the abrasive and the beautiful.

I think the thing that L.A. had on Sydney is an awesome music scene, especially for what I do.

Great songwriting will never die - it's in the DNA of music - but what's new and exciting is pairing that with new sounds that technology is enabling us to make.

I love working with people and having them bring something to the table that I couldn't. I think one of my favourite artists to work with has been Kucka. She's Australian, too, and it's great working with her because we kind of have a very similar take on music, and we like a lot of the same stuff. We're not super-precious about ideas.

I like bangers and really testosterone-fueled stuff.

I wanna make weird stuff.

I don't mind playing my music live. It's fun. But what my real passion is is writing music.

In the right context, you can make ugly sounds, different sounds feel right at home.

A lot of electronic music out there feels cold. I want to incorporate a human element.

'Sleepless' was the first thing that came out and really gained a lot of traction online.

On stage, I like to dress up a bit. I'm not scared to be like a character up there.

I had this little Bon Iver phase a few years back; 'Flume' was one of my favourite songs.

Often, when I work with a vocalist, I like to focus on the melodies first.

For me, I actually come from an electronic dance music background: house music, electro house, trance music, even. When I was coming out of school, basically, I discovered Brain Fever, Flying Lotus, J Dilla and all that. That was when I got excited about hip-hop and when the Flume project started.

I had an idea when I was 18 or 19 to start tutoring people, like the way that people get tutored in saxophone or guitar, but for production. I really enjoyed it, but I don't have time for that any more.

My parents used to play me this album when I couldn't go to sleep. It was called 'Deep Forest.' I think it was a self-titled record. It's actually still one of my favorite albums of all time.

To me it's all about textures, and that's the side of music that I'm finding really exciting. I feel like it's one of the only parts of music that mankind hasn't fully discovered yet.

I feel like I've got a pretty good presence online through Instagram and Facebook. I just keep it simple.

I've never been one to want to be the center of attention and be put up on stages every night. That's just not really my personality. I'm comfortable with it now, but my real passion is being creative.

I always regret leaving home if I don't get at least four or five surfs in the week before I leave. I try to be in the water as much as possible before leaving, and it's the one thing I miss massively.

I've grown up by the beach all my life, and I almost get anxiety if I haven't been swimming for a couple weeks or a month. It kind of builds up, so I try and get out as much as possible.

Making sounds that literally no one has ever heard before because the software and the technology's never been there, and pairing that with great songwriting, then that's what's exciting for me. That's what I wanna do.

This life and this job and this position that I'm put in, it forces you to grow up quick. I definitely got dropped in the deep end.

For me, one of the downfalls of electronic music is that it can feel a little soulless or robotic.

I want to make music that is completely electronic but doesn't feel it.

I just want to try writing for other people 'cause it's quite exciting.

I never expected to make a lot of money from music.

I get bored of music really easily, so I always try and make music that makes sense, but then it's just a little bit wrong.

I was delivering papers when I was, like, 10 or 11, and I'd always daydream about being an artist as a full-time thing.

Probably the No. 1 most important thing in my music is not to sound like anyone else. It is hard in this day and age.

I've been having meetings with people, just everywhere in the world, and it's like, 'Hey, really love you to work with me, send me some ideas.' That's the crazy part.

I've never worked with huge pop acts, I mightn't like it, but it's something I've always wanted to try.

I don't think I can name any names or anything, but this is what I've wanted to do for a long time: to have Flume as my creative outlet and to work on the biggest songs in the world, like pop, and come up with the idea and send it off.

To me, skin is alien and kind of weird; it weirds me out. It's strange, but it's also really intimate and personal; it's living, organic. That's how I want the music to sound; I want it to feel alien and strange, but also like it's got a heartbeat, like it's got a soul, like it's not made by a robot.

I could do another tour, make a record that's very similar, do similar venues. Or I could make a different record, do different venues, and grow. It's exciting to take it to new places, but it's never been my intent to be the biggest thing in the world. That's not what my drive is. I want to make what I want to make, and make a living off it.

I want to keep Flume kind of experimental, weird, melodic, pretty.

I just want to write another record that's as good or better than the one I've already made. That's my main goal, to follow up stronger than before.

I'm not into the attention thing so much.

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.

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

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

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.

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.