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.

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

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

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

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

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

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

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

I wanna make weird stuff.

I like bangers and really testosterone-fueled stuff.

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.

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

I want to fuse the abrasive and the beautiful.

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

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.

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

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.

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

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

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.

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

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.

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.