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.
I think Sydney has so much natural beauty; it's just a beautiful city.
I think, in the early years, my biggest influences would have been... Daft Punk was a huge one for me, I bought their main record when I was nine; at a young age, I was into music. The Prodigy, Gorillaz were big ones.
I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.
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.
My main inspirations come from early '90s Trance, the French electro movement round '06, then a bunch of artists like Flying Lotus, J Dilla, Moby, The Prodigy. So I'd say it's some kind of experimental electronica with a strong hip hop influence. It's chilled, but people can still get super crazy and dance to it.
Combining sounds that are from another universe with the classic songwriting structures never gets old for me.
The minute I saw the front page of the 'Daily Telegraph' - me with my arm around the latest 'X-Factor' contestant - I realised I'd gone into a new realm.
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.
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.
In the right context, you can make ugly sounds, different sounds feel right at home.
The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals?
The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals? It's very stuck, whereas with electronic music, new sounds are being created.
For me, one of the downfalls of electronic music is that it can feel a little soulless or robotic.
A lot of electronic music out there feels cold. I want to incorporate a human element.
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.
I'm not thinking about the next record really yet. I kind of want to do a bunch of stuff with Jonathan Zawada, the guy who did the album art. 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.
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?'
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?'
I want to fuse the abrasive and the beautiful.
