Quotes from Porter Robinson

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'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 wanted to do music that was a little more sentimental, emotional, and serene - completely different from the party music I was doing.

And I'm interested in writing music that takes risks. My point is that maybe the term EDM is pinned on me and my buddies, but maybe it'll be less so if I experiment.

I love the idea of web design that maximises expressiveness over functionality.

I'm so grateful for archives like Wayback Machine, who for 15 years have been creating snapshots of almost the entire web.

Electronic music was this super cool thing to me my whole life.

It might be interesting to people to say that I would do something with Taylor Swift, but the reality is, it's so not on my list of things to do.

The thing that makes me want to proceed and finish a song is when it really touches me and makes me feel something.

So, the concept was a single-stage festival, and I open and close the festival to encourage people to stay for all of the other artists.

When I'm making sentimental trancey fluffiness, I like to have some equally saccharine aromas filling the room.

I think that my biggest influences are electronic acts. Daft Punk is probably my number 1, then Kanye West would be number 2 after that.

My relationship with my brothers... it's almost weird. We've never fought, we finish each other's sentences, but not in a creepy way. We talk about the things that we love and share music with each other.

The one thing you can't control is what comes after what you release.

My original goal was to get into the Top 100. I listened to every song in the Top 100 every day. I knew them all - this is where the gods reside.

The DJ role, it's never been a big thing for me.

I've got a hundred thousand things on my mind that are taking precedence over trying to make pop collaborations.

I think not having come from the DJ world was an asset to me at first because I didn't have some of the habits other DJs had, and I think in a way that set me apart.

There are a lot of people who wonder why Japan is a pretty consistent influence in my music, and I think it's because the reason I started writing - my intro to electronic music was Japanese music.

Yeah, I've always wondered what it would be like to make music that's not nostalgic at all, and it's really, really hard for me to imagine.

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.

One thing that scares me a little bit is that I want people to like my music, but I think a lot of what I like about my own music are these references to things that people don't share nostalgia with me on.

There's so many things that can go wrong, and if I'm merely playing and not hosting a festival, none of those things reflect on me.

It's hard to regret making the choice that you think is right.