My favorite experiences have all been finding myself at one point in a timeline and going in both directions, just discovering at my own pace. If I could admit to be playing some kind of long game, and strategizing this, I would.

Staying enthused about finding things; discovering new beauty in the world that can translate into music. That's the most precious sort of resource. You have to pull stuff from outside of the musical realm. Whatever muscle it is that it takes to listen to music and stay focused, in me, is really strong.

The most attractive thing that I've seen in the creative realm is the enthusiasm in people that does not seem to burn out. That's what I'm after.

My favorite experiences have all been finding myself at one point in a timeline and going in both directions, just discovering at my own pace. If I could admit to be playing some kind of long game, and strategizing this, I would.

Anything we were studying in school, like math, or understanding somebody's behavior outside of school, kind of worked its way into something I could understand by way of a musical experience I'd had or something I'd heard.

When you have the catalog of work, it doesn't feel like you've got one shot to get it right; it's just like, you're making a new document of something at the present time, and it's a living thing, and it changes. It's been cool to help other people make their records, to produce. You get a crash course in things that you don't get as the artist.

I think my role as a musician is much more reactionary than that of the creative personality type who locks himself in a tower and then comes out with Pet Sounds or something. I just respond to stimuli more than anything.