I'm into lately being a little less precious about writing and being like, "Okay, what if I just locked myself in my room, pretend that there's someone outside with a gun that's saying, 'Don't come out until you write something.'"

The instrumental record is a bit subtler. It's the kind of stuff on sound check, when I first pick up my violin and start to play, the kind of melodies that just pour out of me. Some of them sound very classical. Some of them sound experimental, polyrhythmic loops that I make.

I'm not a home-studio guy. I spend a lot of time working by myself developing songs, but I really need some other counterpart to help me pull it all together, because you go nuts working if I had to finish an entire project all within my own head.

I don't like super-descriptive modern fiction. I like, "Here's what was happening in 1582 all over the planet." Then that gets my imagination going.

There's always that struggle between me wanting to keep [song] new and fresh and then be - I can never get with pop songs being so repetitive.

I think when I was pretty young I got really into the tone of my instrument and I remember just playing one note for an hour to just kind of feel the resonance of the violin.

Correlation across replicated environments adds a whole new dimension of complexity of the environment, ... You would expect most application groups to have the same set of policies. In reality, you have differences in policies. That reflects back to that whole process of manual storing in the environment.