The years keep going by and you realize, Wow. Doing these records is such a process: going on tour for a year and a half, then you get home and you want to do other things.

I didn't want to be on a major label. I wanted all the attention and the noise to go away because I wanted to be something a little bit more substantial.

For the records I've work on over the last 10 years, I get sent the really compressed version and the non-compressed version, and oftentimes you end up going with the more compressed one because it's what people's ears are attuned to. I think the bigger problem is saturation and people being desensitized.

There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.

You spend so many months and years in the studio, and you see the clock ticking and so much time spent on the minutiae of technical things. And I just thought it'd be fun to do something extremely fast and get that rush of something that had some energy, something that you weren't tired of when you finished it.

Sea Change was so specific. From the beginning it was set what it was going to be. All the other ideas that I had at the time I had to put to the side.

As music becomes more computer-based, it's lost some emotional impact.