HF:  I’ve always enjoyed the concepts in anime and the fantastic nature of animation in general. It’s an exploration of completely foreign worlds and themes to me. Futuristic settings are my absolute jam, ever since being given a copy of Moebius’ Pharagonesia and other strange stories as a kid. Syd Mead has done so much for science fiction and you can see why, his designs are so slick and timeless and represent the pinnacle of futuristic artistic concept. I’ve wanted to convey that crisp finish in some of my work, and I feel like I’m working my way up to that. my writing has always been ahead of my production skills, but I’m starting to get better.

SR: I can’t help but feel I’m in a scene with Rick Deckard chasing down Replicants when listening to your track ‘Skin’. Have the 80’s
inspired your work?

HF: I agree that skin especially was a stripped down song with only a couple of elements so the analogue rawness seems to attract comparisons to the electronic music of the 80’s. Vangelis is definitely an influence, although you might not hear it in my work. I want to create something pure poppy and timeless with a bit of depth and I think I’m getting there.

SR: Staying with pop-culture, have particular anime series and movies inspired some of your work? If so, how?

HF: Honestly I don’t watch much anime, but some more popular films stay with me, such as Ghost in the Shell, Paprika and Akira. Some of the shorts that were made for the Animatrix are brilliant. Porco Rosso is my favourite Miyazaki, the soundtrack is sublime. The scene where Porco’s pilot friend joins the endless stream of planes in eternal flight is absolutely stunning. For non-animated, I’m not that huge a film buff, sci fi’s and rom-coms are my two favourite genres, and I think the latter definitely influences my decisions to lay on the romanticism.

SR: With a debate still ongoing in regards to the art of sampling and the grey areas that exist in relation to copyright sparked by Jamie xx’s album ‘In Colour’, what are your views on the issue?

HF: I think there’s a big distinction between the art of sampling and breaching the laws of copyright and a lot of people still don’t understand. my thoughts are as long as the new composition uses the sample to create something new, even if the sample is instantly recognisable, the new piece is unique and untouchable. The commercialisation of art has done a lot to dull the practice of appropriation and it frustrates me when artists put a bulwark around their work to protect their financial interests, also when other artists appropriate purely for profit. There are so many fantastic examples of how important sampling is to art – a huge part of the hip hop movement, drum and bass and plunderphonics just to name entire genres. Unfortunately when money is involved the process is soured, so I think the whole idea of copyright is bullshit but it’s entirely necessary bullshit.

SR: How has it been working with James and Vic on Plastic World?

HF: An absolute pleasure. patient, smart, kind guys who have guided me through the process of releasing music as well as providing invaluable feedback. without james, vic and tom there’d be no skin.

SR: What’s been the highlight for you so far working with the Sydney label?

HF: Definitely the skin release. It’s helped me realise that there’s definitely a small fanbase for what I do and given me the confidence to write more and eventually get into performance.

SR: As well as feeling as if I’m featuring in Blade Runner, I ‘m also reminded of Oneohtrix Point Never when I listen to your music. The sheer number of layers you have in your tracks and heavy presence of retro-clad synth brings Daniel Lopatin to mind. With other artists such as Move D and Boards of Canada listed as a few of your influences, what have you drawn from their work?

HF: All of those guys have a very good pop sensibility. I think it’s important to retain that sensibility no matter what genre or intruments you’re working with, and you can tell with almost any release (especially from BOC and recent OPN) that most songs are just great pop songs layered with unfamiliar sounds. I’m happy to create pop because it’s fun, catchy music; my hope is that I can bring something more to the fold, like my influences, by trying to create something different but instantly danceable.

SR: Who are your top 3 up and coming producers at the moment?

HF: Honestly I don’t listen to many up and coming producers so I wouldn’t know. I tend to go back to music I’ve enjoyed in the past and listen to it in a new light, and maybe try out new related musicians while I’m at it. Artists I’m digging at the moment are Ian Furnow, Kyoka and The Fucking Champs.

SR: What are your top 3 go-to tracks at the moment?

1. Music for Steamed Rocks by Oneohtrix Point Never

2. The Hamburg Cell Was Born In Chechnya by Vatican Shadow

3. Brought to the Water by Deafheaven