There's this phase in the middle of the process where there's still the potential that this will be great, but it's not a blank sheet of paper anymore, and that phase is always my favorite part and the part that I tend to want to stretch out and spend as much time in as possible.

I'm not a one-stop music shop with jazz improv in aisle 3 and country and western in aisle 4. I have a fairly focused and established kind of melody and approach, so people know what they're getting into when they go into business with me.

There's this phase in the middle of the process where there's still the potential that this will be great, but it's not a blank sheet of paper anymore, and that phase is always my favorite part and the part that I tend to want to stretch out and spend as much time in as possible.

The only part that's ever frustrating is just the deadline. If left to my own devices, I'd work for a year on something that doesn't need to be worked on for a year because I enjoy it.

Conquering something new becomes fun, even if that thing you're conquering isn't what you'd normally do.

That's always attractive to me, to work with music whose form is a big question mark. Even many of my favorite bands growing up, when I was just a kid learning to play drums and guitar and everything, were bands like Pink Floyd, where the arrangement, the number of bars in each section is unconventional and often lopsided, and there will be small little instrumental interludes and that sort of thing. So those odd forms, as well as dark content, are the things that I think are continuous through all the type of projects that I've been attracted to.

The unifying thread through all these different aspects of music business is just my attraction toward working with sounds and designing new scary, evil, dark sounds.