The way I work is mostly unconscious and instinctive.

The hard part was when I went into the studio with co-producer Eric Broucek, and he started slashing my demos. I always sweat that.

When I moved to New York in my 20s, I didn't have an obnoxious ego, but it was huge! I'll thought, "I'll never die and I can do anything."

It is a good thing to let someone else's vision take over, and it has always been a good thing in the end.

Most of the time, the creative part is like playing in a sandbox. I can sit here and work for 12 hours and not get tired of it.

I do have a lot of references coming out of the '60s, '70s, and '80s, but I don't consciously think, "I'm going to put this here and this there." It comes out of my unconscious, and I don't want it to be just retro.

You always want an album to sound like its own little planet.