I've been listening to a lot of music by Arca.

I'm just trying to work out how to write music now, because I've never had the opportunity where my number-one priority is writing music. I don't know how my brain works yet.

I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.

I was an avid Pokemon card collector.

There's a lot of creativity in the industry, but I don't necessarily think that the most creative DJs or producers are always the biggest ones.

I think it would be nice to see more of an open culture to different music.

I'm a huge fan of Flying Lotus. I like The XX's stuff.

What it is now is basically, I'll sit on my computer; I basically kind of play the computer as an instrument, I guess you could say. I guess I play the Mac. And how it works is, say - I have a program called 'Ableton Live.' And, you know, you'll open it up, and it's just blank. There's nothing there. And then you start.

It was a difficult second record. I had moments where I couldn't write; had moments where I was writing lots. It was just a massive learning process for me.

Along with 'Free,' where I sing quite a bit, there are additional songs on 'Skin' where you can hear my voice in the background - lots of 'oohs' and 'aahs.' But more often than not, I use my vocals to prompt other rappers and singers to feel calmer, better, bolder.

I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'

The music I was making for people not to dance to was the one they were dancing to.

I did a few DJ gigs at empty clubs, sort of as a warm-up set before Flume was a thing. I did one when I got big enough, and I had five friends come down, and they were the only ones dancing. That was one of my earliest ones. I was super nervous.

I was nine, and I was shopping in a supermarket with my dad. There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.

For me, I would prefer to not have my face on the album cover. I don't mind being in the public, but it's just not really my personality, and it's not really why I'm into this. I like making art, and that's it. I don't really want to be a celebrity, seriously. I like my privacy.

The goal was always to do something that felt human but was 100 percent electronic.

I feel like I need to continuously keep evolving and moving.

I find that if I interact more, the crowd gets way more into the music. We also have a full live show happening, and I have lighting crew that travels around with me. We've got this Infinity Prism thing, which is lots of fun. It's an optical illusion device that we carry around.

I think at first the Flume project really started out as an online thing. I used Facebook and SoundCloud, and I think we got lucky because it felt like a bit of a golden age of those social media platforms. So I managed to create quite a solid fan base online.

Back in the day, I had this fluoro pink hoodie that I thought was the coolest thing ever. Left it at a party and never saw it again. Probably the best thing that could have happened.

I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly, it's my job, and people are asking, 'Where's the record?'

What it is now is basically I'll sit on my computer; I basically kind of play the computer as an instrument, I guess you could say. I guess I play the Mac.

I've never been a rap guy, I don't really know that much about rap music, to be honest. I like it, but I think what really happened was just my music seems to work so well with rap music.

I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record... We'll see.

The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals?

Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.

Sydney's beautiful, the weather's great, and the air's fresh and clean, but it doesn't have the scene and the amount of likeminded people. At home, things are very comfortable, but I feel like putting myself out there a bit.

It's always the first 10,000 SoundCloud listens; that was definitely a big moment, seeing the online stuff grow and crowds grow.

I'd like to actually work with a lot of other people, and whether it's someone who is completely unknown who I love and think is a talent, maybe I'll work with them, or, like, maybe I'll work with some of the biggest pop stars and write music for them.

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.