What you see with your eyes when you're making music is going to have a profound effect on what you hear.

I don't like to disappear between records. I like to play shows while I'm making the record.

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

I don't get particularly precious about things like this, though. Like the record company said, "We need a radio edit that delivers the hook" - I don't even know what they consider the hook in that song ["Oh No"] - "that delivers the hook sooner." So I'm like, "Okay. I see that." And they were all walking on eggshells, like is this going to be sacrilegious to me or something, to mess with this art I've created? And I'm like, "Great. I get to tinker with it, I get to mess with my song some more."

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.

Some of my earlier songs are kind of more about mental illness.

The way I work, I'm not a confessional singer-songwriter.