Quotes of All Topics . Occasions . Authors
As much as early 2000s aesthetics are something I was pining for and very much love, I would occasionally struggle to find one singular image or one singular site that summed up all of my memories really well.
Star Wars Galaxies' didn't ever explain itself to you. It was horribly broken; it was glitchy in several significant ways. It was just this vast, expansive, beautiful universe with all these crazy idiosyncrasies.
I just want the truth about it, because if the reality is that electronic music festivals are significantly more dangerous than other festivals, then something should be done about it, and that warrants conversation.
I do want people to have a sense of just the extreme level of meticulousness and care that goes into everything. I wouldn't expect anybody to catch all the details of what I'm doing. The level of obsession is so extreme.
The anonymity of the internet has been completely abandoned - everything's so tied to your identity and sense of self now. It's hard for me to see that changing, but that's why I wrote a love letter to something that once was.
I'm mostly known for writing electro and aggressive bangery house music. But before I started making electro, and while I was making electro, this sort of gushy, make-the-ravers-cry sort of sentimentality is so important to me.
I was still on track to go UNC at Chapel Hill, I had no plans to be a musician. It wasn't even a goal of mine. Then I had this song that blew up and went viral and suddenly I found myself playing shows and having this music career.
My most successful song was 'Language' and I think partly because it's a nice, dancey record, but I'll see people cry in the audience to that song, and that's so much more interesting to me than making someone just jump up and down.
Toplines usually suck. I'll send a song to a band or artist whose entire body of work I love and I'll ask them to do a vocal for one of my songs and I'll get it back and I'll hate it so much. It might have to do with my possessiveness over my music.
I spend a good deal of time doing, for anxiety what's known as exposure therapy where basically you're supposed to confront things that cause you anxiety and learn to tolerate. It's all about learning to tolerate discomfort rather that avoiding anything that might make you feel uncomfortable.
I wanted there to be something to fill the space and to catch the listener's ear, but I didn't want there to be any 'Virtual Self' songs that had a clearly defined vocal with lyrics and top line. If you do hear any lyrics, it's just your brain filling in the gap, because those moments are just various syllables combined.
I came into having an artist's career in this very sheepish and directionless way. It's hard to explain, but I was 18 years old and I was ready to go to college; that was the next step for me. Then suddenly I had a song that blew up... and I had this artist's career and I was on tour with these big names and I didn't know what I was doing.