If the records that I make have one thing in common, it's that there is little recapitulation, and the idea is that it should end in a place very different from where it began, and that you've heard musicians undergo a change or be irreversibly transformed.

If the records that I make have one thing in common, it's that there is little recapitulation, and the idea is that it should end in a place very different from where it began, and that you've heard musicians undergo a change or be irreversibly transformed.

Kenny Goldsmith from Ubuweb describes himself as an amateur archivist, and people can download files from Ubuweb - it's not a streaming service. But it's a miracle that it's still online and they're able to make it work through the donations of server space and volunteer efforts.

There's part of me that is a strict materialist.

The danger of these collaborations across disciplines is in having too strict of a division of labor - in my case, of getting stuck doing the music. When I make an album, I write music, I write lyrics, I come up with the visual design, etc. I get to do all of that stuff.

I don't write poetry for the page because my inclination in that area is satisfied by songwriting. "Ornamental Hermit" was a comparatively effortless song to write, which is rare for me.

When I read John Cage's book Silence, I was growing up in Louisville, Kentucky. For me, records were a mode of time travel and geographic travel, interfacing with a much larger world. So it seemed antiquated and backwards that Cage would be so down on them.