Various people have put forth that love is the scene of two, that it's not about unity, it's about two absolutely disjunct positions encountering each other. So here, even with something like sex-- what [that song's] about-- you could never become one.

The categories of woman and man are too rigid. They're going to give way to new forces. They already have, to a degree, but for most of us, this drama held sway, and we assumed our positions.

I am definitely interested in soundtracks that one might associate with fantasy or sci-fi - they tend to be rich with musical ideas.

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.

There's love and there's romantic love. The Greeks had different words for different kinds of love. And we just got "love." I don't know what you would call the other kinds - maybe brotherly love, Christian love, the love of Saint Francis, love of everyone and everything. Then there's romantic love, which, by and large, is a pain in the ass, a kind of trauma.

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.

With writing music, as a general rule I'm looking for something that surprises me, that doesn't fall within what's easy for me.