I don't mean to romanticise the struggle, that leads to all kinds of terrible violence and absurdities that are even worse than the perverse immediate gratification.

In all the music I've done, what I'm really interested in above all else, and I'm not sure it's what one should be interested in, is the kind of - you know, people talk about work progressions, which doesn't really make sense with pop music because there is no progression, because there is no tonic, because there is no more tonality.

In our culture, the Oedipal drama succeeds in making us assume either a male or female sexual position. Certainly this is an ancient construct that's rapidly coming apart.

I don't mean to romanticise the struggle, that leads to all kinds of terrible violence and absurdities that are even worse than the perverse immediate gratification.

Musical acts that feign enthusiasm for what they're doing the guitarist who jumps up and down, like it's choreographed are so transparently vacuous.

I'm steeped in aesthetic theory, so I tend to bring in my own amateurish way of baring a little bit - when, in practice, I'm not thinking about that when I'm working over the keyboard, or musing over musical ideas in my head. But when discussing it, we want to have some new thought about this new music.

Maybe this is blasphemy to say, but I feel like music is not meant to be something that earning your keep depends on because it cheapens it and it will force you into making decisions in the interest of earning your keep, as opposed to the interest of the thing itself.