It's grotesque to believe the body we inhabit we want to inhabit 24/7.
I feel like, a lot of times, you make music, and you don't really understand why until with hindsight.
Making music is an inward and outward gesture at once. I make it because I'm communing with a side of myself that might help me look people in the eye. But at the same time, I'm reaching out, in a way.
It's a really deep and layered psychological situation - making music with someone - if they're trying to make something real and personal. It's almost like dating: you allow yourself to be consumed by the other - not in a bad way, but in a way that happens in nature.
Speaking two languages fluently makes each language not so important.
As a kid, I spent a lot of my mental energy hiding who I was and attempting to fit in.
I like contradictions, and I like exceptions. I don't like rules and dogma.
'Xen,' to me, was a necessary excursion inward, into myself. 'Mutant' is a response to it and is more extroverted.
I've come to the conclusion that the best way for me to grow is in a very self-forgiving way: to take a risk and, in response to how a record pans out, take a risk in the opposite charge.
There's something in glitchy music that I like to get lost in.
I think there's a certain poetry to having your body reflect what you feel inside of you. Perhaps you have a feeling that's so pure, or overwhelming inside of you that your body disfigures to it - contortions match your confusion.