If Broadway musicals were as popular as they were in the 20s, 30s, and 40s, then people like Sufjan Stevens and Iron & Wine would be writing for Broadway, which would be amazing. As it stands, it's the worst stuff that's mired in pop music.

I'd rather have a strong career, playing and selling records to a loyal audience, then having one record that exploded. That would be devastating.

We are the inheritors of a wonderful world, a beautiful world, full of life and mystery, goodness and pain. But likewise are we the children of an indifferent universe. We break our own hearts imposing our moral order on what is, by nature, a wide web of chaos.

All instruments sound fantastic in a church.

You can't really come into a concept record objectively, because you immediately associate it with Yes, stuff from the 1970s that punk rock kicked against, the pretentiousness.

I wish I had a better range, but I really have a super-limited one. Barely a tenor, dips into baritone - that's about it.

Early on I was a lot more unsure of myself on stage. When our band The Decemberists was getting bigger audiences I was more concerned about alienating them, so I wasn't as willing to take risks and do weird stuff on stage. But once you get more accustomed to it you tend to have more fun with it and not worry about being pilloried for acting out. Whenever you play in front of 400 or 500 more people than you're used to it's always a weird, transitional period.