In a way, all recorded music is reduced to the same level, no matter what it is. You find it in the store, you put it on and, "Oh, that's not cool. That's gangsta rap. That's white supremacist punk." But in a way, the content is removed from the intention of the people that made it. That's the commercial level of music.

I think the question of actually relating emotion to music is totally interesting. I believe that it is really important on some level, but it's also important not to impose your own emotions on some music that has its own emotions.

The most appealing part is the feeling of learning something true - the pleasure of a truth. For me, that's mostly found in philosophical literature at the moment.

I don't like to treat words and sounds like objects. You have to penetrate deeply into their meaning.

In a way, all recorded music is reduced to the same level, no matter what it is. You find it in the store, you put it on and, "Oh, that's not cool. That's gangsta rap. That's white supremacist punk." But in a way, the content is removed from the intention of the people that made it. That's the commercial level of music.

There is no guiding principle, because the work that is created in collaborations should be created from its own principles.

Working with the Latin language is pretty powerful. Working with a language that is not spoken vernacularly is intense.