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 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 would like for people to appreciate the album musically whether they knew how it was made or not.

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.

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.

I practice yoga and breathing daily along with all the exercises on the instrument. I'm getting more and more monastic about it, especially when I'm on tour, because I'm making songs that are harder to perform all the time. So I no longer smoke and I drink a lot less on tour.

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