The group-effort sound in recording of Sea Lion is like, you really hear all the people in the room and hear them interlocking. Theres a real freight-train energy of all these people at the same time playing.

I think I prefer the constant renewal. It's almost like sandpapering down any details or any contour of familiarities.

I guess there are a lot of people out there that think they're supposed to define themselves in isolation, but that's not necessarily the case.

I just went to Europe, spent a year traveling, and then I came home with a finished album and said, "Hey everyone I'm back!" I gave everyone their lighters from Luxembourg, gave them the postcards from Italy and Rome, then said, "Hey look, I made a record, too" and played it for them. The general reaction was shock, because it was so different from what they've known me to do.

I said I'd stop for a year, which was inconceivable to me and everyone around me. It seemed like so long. But then, after that year, I looked up and I still hadn't gotten my land legs back at all.

I was grateful to be away from all that familiarity, to have a chance to do something anonymously.

I find it pretty fascinating how humans keep gravitating towards these giant centers. I went to this walled medieval village in France this year, and it was truly the most crazy, beautiful, bizarre place I've ever been.