GOTYE

Often times at a concert, I just close my eyes. Music is very transportive and visual for me like that.

What makes me vulnerable? Well, my ego, probably. I kind of like to try to let go of it. Or feeling out of my depth. In various aspects of my life, whether it's musical or personal.

I quite clearly remember driving home at 9 a.m., after shooting all day, in a bathrobe, with bodypaint all over my face, and going through McDonald's drive-thru. I ordered a coffee to make sure I didn't crash on the way home. And the girl working there, she didn't even bat an eyelid. I guess it's a regular thing down in Hastings McDonald's.

'Somebody That I Used to Know,' like a lot of the record, was a bit of a struggle to finish. It was written fairly quickly - I wrote it in November 2010 - but it took six months to find Kimbra and really realize she was the right vocalist to make the female part come to life. There were constant hurdles.

I guess Surrealism has a draw for me because it's an unknown world. It's a world of subconscious. Some things you can't really get your hands on very easily. Things that are kind of nebulous and they feel like they're not completely formed. You have to feel your way through that.

When I started covering The Beatles and The Rolling Stones in a rock 'n' roll band, it helped me realize that my natural voice is actually really high. It helped me find my voice.

I tend to just do whatever I want on an album and try to make it work. I'm just adventurous. It's most exciting to be at the edge of your abilities. I want to see how far I can push things.

Through the music I hope to give it an arc that gives it a greater sense of a journey through the set rather than a bunch of songs.

I have this desire to just while away weeks, months and years. It took me two years to make this record but that was with me trying to condense my process and not disappear down the rabbit hole with all the cool things I've collected. I could take 10 years and not explore everything I want to with these instruments.

This 'Making Mirrors' album is far more personal, even if there's a character element to the sounds I'm working with. Every song on this album I stand behind; I feel like I have a close relationship with them. There are older songs where I can feel myself writing a story, so this is the first album where I'm proud of every lyric.'

I have this desire to just while away weeks, months and years. It took me two years to make this record but that was with me trying to condense my process and not disappear down the rabbit hole with all the cool things I've collected. I could take 10 years and not explore everything I want to with these instruments.

I guess Surrealism has a draw for me because it's an unknown world. It's a world of subconscious. Some things you can't really get your hands on very easily. Things that are kind of nebulous and they feel like they're not completely formed. You have to feel your way through that.

I do get a bit of a sense, just from e-mails some people send me, just a little sense of how people in different countries seem to respond differently to certain lines in a song.

I quite clearly remember driving home at 9 a.m., after shooting all day, in a bathrobe, with bodypaint all over my face, and going through McDonald's drive-thru. I ordered a coffee to make sure I didn't crash on the way home. And the girl working there, she didn't even bat an eyelid. I guess it's a regular thing down in Hastings McDonald's.

A big part of making music is the discovery aspect, is the surprise aspect. That's why I think I'll always love sampling. Because it involves combining the music fandom: collecting, searching, discovering music history, and artifacts of recording that you may not have known existed and you just kind of unlock parts of your brain, you know?

All the records I've put out have had either artwork that I did while I was young or something that my Dad painted.

I tend to just do whatever I want on an album and try to make it work. I'm just adventurous. It's most exciting to be at the edge of your abilities. I want to see how far I can push things.

'Somebody That I Used to Know,' like a lot of the record, was a bit of a struggle to finish. It was written fairly quickly - I wrote it in November 2010 - but it took six months to find Kimbra and really realize she was the right vocalist to make the female part come to life. There were constant hurdles.

Through the music I hope to give it an arc that gives it a greater sense of a journey through the set rather than a bunch of songs.

Sometimes I'll have sections that I'm not quite sure how they fit in the puzzle of a tune, they'll get moved around; what I think was originally a verse ends up becoming the chorus, or what's an intro gets dropped as a hook, things get shifted around a lot.

I could quite happily just make music because it conjures up a whole visual world for me in my mind.

Have your friends collect your records and then change your number.

I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.

Music makes me want to dance but I'm not sure that's something anybody wants to observe.

I'm open to whatever. I think sometimes when people collaborate these days, it's a little bit convenient.

Emotionally, I feel mostly out-of-depth, like I will never quite learn how to be what I should be. And that makes me feel pretty vulnerable a lot of the time.

What makes me vulnerable? Well, my ego, probably. I kind of like to try to let go of it. Or feeling out of my depth. In various aspects of my life, whether it's musical or personal.

Often times at a concert, I just close my eyes. Music is very transportive and visual for me like that.

When I started covering The Beatles and The Rolling Stones in a rock 'n' roll band, it helped me realize that my natural voice is actually really high. It helped me find my voice.