You're always as a musician trying to shock yourself or create music that's maybe even too weird for your own taste. In my case it's kind of weird because I started out being known more for ambient things and ambiguous music, but what's experimental for me is the more traditional structure. For me, experimenting involves traditionalism.

Talk to Arto Lindsay and I'm sure he's tired of people asking him about DNA; he's probably really into what he's doing now, which is good stuff. I guess I probably feel like that. But I'm obviously not comparing myself to someone as iconic as that.

I've always been interested in writing from other people's perspectives and other gender perspectives.

When I go on a nostalgia trip it's not aesthetic. For me it's about trying to recapture the smell or the feeling of something that I've experienced in the past personally.

I'm working on one of the projects at a time and I'm the zone of that project. I'm not saying there's anything wrong with this, and I might experiment with it in the future, but I'm not a fan of just random assemblages of songs at the moment.

I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.

I refuse to put myself into a situation in which I have to face some kind of "I'm losing it" kind of thing. I'm not "losing it"; it's changed. What it is is changing.