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.

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

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

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

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

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.

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

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

I always feel like the past informs my present musically.

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

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 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.

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

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

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.

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 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 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.

It's tough when you're an artist because you get to go around the world and make a lot of friends, but guess what? One day, all these people that you love are going to die, from DJ Mehdi to DJ Dusk to J Dilla to Austin Peralta to DJ Rashad.

I took to the synthesizer. My cousin had some synthesizers, and I'd always make stuff on those things.

I played saxophone for a while when I was a kid.