What's cool about indie rock is that one band can do effectively the same thing as another band, and one band nails it, and the other one doesn't. I like that elusiveness.

The real drag is trying to fly from country to country, day of show, with all your gear. You get hassled all the time. It's hard trying to keep it together.

Playing the violin and singing and whistling are just three different ways of making sound. It's not trying to replace a band, per se. It's become a completely different thing. And it's not just simply an effect. It's just a very surprisingly intuitive thing.

I've always had levity in my songs, so I like to turn things over, twist them around, and make fun of myself.

Playing the violin and singing and whistling are just three different ways of making sound.

In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.

There's kind of this unequaled thrill of playing a half-finished song, it's kind of sense of slight embarrassment; like you're blushing. I like doing that. I did that with "Eyeoneye" and it was almost a curse on the song for a while; I debuted it when it was half-finished in a very public way