Quotes from Mura Masa

Maybe I'm too selfish to just be a producer. Also, I feel like I have something to say that's interesting or unique.

Being from a background of dance music and what you might call club music or electronic music, I think something that gets neglected in that scene is personal vulnerability.

I think there's a huge pivot in popular music, and just in culture in general, towards art that is vulnerable and emotionally honest.

What's wrong with being a snowflake? I think if you're calling someone a snowflake that just means you've been upset by something they're saying. We're all vulnerable, get over it.

But I guess the first time I made career money was signing a publishing deal when I was still at uni. That was when I waited to tell my mum that I was dropping out, which was half-way through my first year.

A lot of electronic musicians probably wouldn't be bothered making an album, which strategically makes total sense.

The way streaming is going, this movement in the market of music would suggest that doing a long-form project, especially for a new artist like me - someone who relies on a lot of digital following - it would make more sense for me to release the songs individually.

I like having the radio on, that way you're challenged to listen to things that aren't your choice.

I was hedging my bets with university. I always wanted to do music, it was just about waiting for the point when I could confidently say 'okay, I reckon there's enough momentum behind this thing to sustain myself.'

The only memorable people who came to Guernsey in my lifetime were Chali 2na of Jurassic 5 - I swear that was the first hip-hop show in Guernsey ever - plus The Hoosiers.

When I started making music I wanted it to have a narrative and be conceptual, but as time went on I thought it was probably more practical for a first album just to have good music.

I grew up kind of poor, so like, I know it sounds pretentious, but I don't really know how to spend money.

SoundCloud was my first break I guess. I got a little bit of a following.That whole bedroom producer genre was kind of kicking itself into gear, and SoundCloud was becoming more of a hub for producers at the time.

I got into James Blake quite early, like when I was early teen, and that was really important for me.

I did shows for a while without a rider, actually, because nobody tells you that it comes out of your fee.

I've always appreciated having a wide music taste, despite making what a lot of people would call electronic music.

If you grew up in London's East End you'd probably be inclined to be into something like grime music. But if you're removed from it, like in Guernsey, you can have a wider set of influences, and you're not tied down to any genre or any scene. I think that affects my sound, for sure.

There was a footballer, Matt Le Tissier, from Guernsey. But as far as music, no, not many people have come out of there.

I think everybody had this weird mix of pubescent rage and sadness, and just pure mania and joy. It's a really weird time.

I grew up on a tiny island called Guernsey, very small population, very isolated culturally but very beautiful and serene.

There's only so many ways you can cope with being in dire means, and one way is humour.

When you meet your idols, I'm not one of those people - like if I saw Prince on the street, I wouldn't say anything. Because I'd want him to meet me. You want to meet people on the right terms or if there's a reason for you to meet.

I feel like people are now praying for some authenticity and some human touch to music. There's no simpler outlet to that than guitar and piano.

I think the first song I remember hearing was Joni Michell's 'Big Yellow Taxi,' my mom played it for me on the car radio.