I don't really care about audio quality. If people saw some of the ways that I record stuff, they'd see I don't care in that respect. I obviously care about things sounding good, but I think quality exists through other things like emotionally connecting with a lyric or a feeling, or whatever.
From Dev Hynes
Every day there's a lot of things I block out, because if I start visualising things, I tend to go completely insane. I've always had anxiety issues, and it can totally overwhelm me and suck me under if I'm not keeping focused. I just think and think until I have a panic attack, and then it dies down.
From Dev Hynes
I was 13 years old at music school talking to my teacher. I can't quite remember what it was I was trying to describe, but I do remember my music teacher saying to me, 'Do you have synesthesia?' In hindsight, it seems a little presumptuous of her to think a little boy in Essex would know what synesthesia was.
From Dev Hynes
The way it works for me is my sight and sound senses are combined. Every sound I associate with a color and every color I associate with a sound... The way I see things is constant streamers across the room, bouncing off from every touch and every sound. Over the years, I've learned what color palates I love most.
From Dev Hynes
When I was asked to compose a score for... 'Palo Alto,' I first thought to myself, 'What is the house that these characters would want to live in?' I wanted to paint a picture and color scheme that I could work around. I gently apply different daubs to see what fits to match the color I have in mind with these characters.
From Dev Hynes
The issue I had with the Lightspeed albums was that usually the main purpose with them was to fulfil really dorky musical goals, like, 'I wonder if I can do that,' and it was all very personal. It was more that once I'd finished the goal of what the song was, I was kind of done. It was like ticking boxes.
From Dev Hynes
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