I think that a lot of dystopian literature tends to be really moralizing and just doesn't tend to give credence to the importance of the sentimental. Maybe it says, "We need love in this world," but it's always this tough, strong statement.

"Everything must change, everything must stay the same." Those are good words to have circling around in my head. I just wish that I was able to deal with them, not by singing, but by helping myself. But singing helps, too.

A lot of electronic-based musicians give very low-risk performances, and it's fun to hear your favorite band play live on a big speaker, but the live context is about the moment of risk and that moment of possible failure.

Playing live is so weird because I go out there and I try so hard to give something, which will be recognized. And in turn, something will be given to me, there'll be some kind of shared moment in that. So it's very affectively intense - so much longing and lack of control.

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 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.

Luckily, like for instance the song "Suicide Dream 1," I wrote it out of such an incredibly powerful state that the melody carries that affect. So when I produce that affect, that melody, with my body, I'm immediately thrown into it.