Pitchfork: As a solo artist now, what are you using to make the new record?
JB: I feel really strongly about the potential of sample-based composition. One of the knocks against making music with a laptop is that it gives you too many options: If you can do anything, what's the point of doing anything? People fetishize limitations a lot in music, but I feel like that's like the fetishization of vintage synthesizers, or how a rock band recorded with live instruments and no over-dubs. That's a thing that we're conditioned to be really impressed by. I don't mean to devalue that stuff, but at the same time, I feel implicit in that kind of sentiment is this toxic idea that people can only create interesting stuff under limitations.
The approach where you can put together any group of sounds that you want is so much more exciting to me than buying a bunch of specific gear and being like, "Let me see what I can make when I put myself in this little box." As a person who likes pop music and listens to all kinds of stuff, just thinking about that way of creating bores the shit out of me.