Wholeness is sort of a dubious concept. Because in terms of the human body and literal wholeness and structures, you think: "here are the structures that help make me whole." Family, or school, or the city I live in. When those structures are dysfunctional or decaying, you end up kind of Frankensteining pieces from everywhere in order to make yourself sated and comfortable and alive.

Nothing is as nice as plugging in your guitar and turning up the volume really loud, just seeing what kind of beautiful noise you can make with it.

With Portlandia, I don't think our intention is always to find something funny. Sometimes the humor comes from taking something really seriously. We're okay with making somebody feel uncomfortable or uneasy.

I'm all about being prudent. And I've started to appreciate experiences more than actual objects.

I wrote so much about fandom and participation for NPR that I eventually realized my most fertile way of participating in music is to actually play it, at least in a way that made the most sense to me.

We brainstorm an idea and then we do flesh it out a little bit - we come up with a script, mostly to have beats and a sense of a story and a narrative arc. Often when we get into the space and onto the location, that changes and something we discover in the moment becomes the moment, becomes the story, becomes the character.

It wasn't just like, "I want to make a record that sounds like classic rock" at all. It was more like, "I want to make a record that is a little more unsettling and maybe isn't as easily understood now." That just seemed more important, like, for me to make as an artist, than it was to make something to make people feel safe right away.