I do think that we're pretty future-obsessed right now, and I think that capitalism works best when we have a very short memory of the past, when we can just go forward seamlessly into a future of ever-new products and ever-new experiences - even though they're exactly the same, just on a watch instead of on a phone or whatever.

The interesting thing about doing press is that I learn what the album is about - I now know, a year later, looking back, what was on my mind at the time.

I do think that we're pretty future-obsessed right now, and I think that capitalism works best when we have a very short memory of the past, when we can just go forward seamlessly into a future of ever-new products and ever-new experiences - even though they're exactly the same, just on a watch instead of on a phone or whatever.

Sometimes I'll go out to say hi to people, and I'm just not ready for it. It feels too weird, too intense.

I didn't sit down and write a song like, "I want to write a song about this," but I just spent so much time living in this affectively charged space of the live show, with its risks and the incredible reward that comes from people knowing me, recognizing me, affirming me. And then I would wake up in the morning and have an eight-hour drive where I would read George Saunders and listen to Grouper and Pure X. And you bond so much with your tour-mates and your bandmates because it's this weird, quite desperate way of living.

Our present era, to my mind, is characterized by a profound forgetting of the past. "The future, the future, the future." The 21st century, all the technology obsession.

The songs are all indexes of a time in the past when I was writing them.