I feel like if I do my homework practice-wise, by the time I get to the studio I can put everything exactly where I want it to be right away.

There are mics inside the instrument, a contact mic on my throat, and countless mics clustered around the air of the horn and throughout the room. I wanted to make something that was specific to the medium of recording.

Never had a ska phase, but I was in a very grunge-like rock band that awkwardly had an alto sax in it.

I feel like when we talk about post-apocalyptic themes that's what we're really talking about. We're always returning to this sense of being alone in a strange new place where all is bleak and all is lost. And it is this sense of isolation that permeates the whole album. I wanted to go into the balance between fear and transcendence.

I feel like if I do my homework practice-wise, by the time I get to the studio I can put everything exactly where I want it to be right away.

I want to make albums that are like a Murakami novel or a Terrence Malick film - something that explicitly states its own world.

It's important to me in the creation of it because I figured as soon as I crossed that threshold into effects and loops it would completely undermine the premise of how I go about creating things physically, with the instrument.