I think that providing obstructions in the live setting is when you get something that actually means something, as opposed to just aping your way through your greatest hits.

I try to make myself, and subsequently the audience, as uncomfortable as possible, whether it's completely desecrating a song they thought was one thing, or getting too drunk to really do a very good job.

If my peers had a significant impact on my music, my music would probably be a lot more popular.

You know, there's an economy in lyric-writing that doesn't afford you, or at least me - I usually start off with nine or 10 verses and then boil it down to two or three that are half the length of the original verses. I think for me it's about what you leave out [rather] than what you put in. I'm not sure that the songs help me figure anything out so much as they're a distillation of the original question.

You can't really do anything creative without a source of inspiration.

I don't feel any obligation to make my intentions for a song accessible to a listener or an audience. I'm not interested in conveying anything to them so much as what's best for me.

I don't think that just because a lot of my music has a quieter aesthetic; [it] excludes me from achieving that in a live setting, from being dangerous or something.