I still kind of believe this absurd line that if you have to write it down, it's not worth remembering.

People who are thinking about your music almost as much as you are, that almost never happens.

Most of the songs that I appreciate are lyrically vague.

I still play solo shows. And some of those shows are still some of the best, most gratifying shows.

Songwriters can sort of get away with murder. You can throw out crazy theories and not have to back it up with data or graphs or research.

This might be a controversial thing to suggest, but in a quest to understand and relate to terrorism or school shootings, sometimes it feels like it's real, the appeal. As we've seen with ISIS, it's not always the devout who are getting into it; it's just people looking for a sense of belonging. The more they feel they're up against, the more intensity the cause has. It's an epic clash of cultures, and both sides are playing that up, but it's human beings disaffected, detached, and lonely.

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