I think that all music is inherently political, and, at the same time, I'm interested in the politics of inclusion not exclusion. So I think that my goal is to make music that anybody can hear and feel moved by.

When an old tape machine makes pitch wobble, some people would say that compromises fidelity and would try to get rid of it. But to me that wobble adds richness, it instantly brings back the feelings you associate with old recordings.

I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.

I feel like I've had this ability to infiltrate, as an outsider and an insider, different groups.

I stopped watching sports because I didn't want to watch someone running up and down the field making millions and I'm not doing anything about it. That methodology made me go harder and take control of my career.

One of the things that was most shocking to me about starting to work in the funeral industry is just how industrial the environment is.

One day I asked myself, 'What do I have to sell in this world?' And I realised, well, I only can sell what I have in my bag, and what I have in my bag is my past, and this is Cameroon. This is the raw material of my career.

I took the ET job because I wanted to stop traveling and they said I would only work half a day. Then I could work on music the rest of the day. They put in my contract that I wouldn't work after 1 P.M.