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.

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.

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.

I think it's better to just say nothing at all than to just send two words.

Anytime you can muster the fury to actually write in the face of the impossibility of writing, that's an achievement.

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.

There's really not much in life that's as violent or traumatic as an encounter with somebody who really surprises you and opens up that strange dynamic that's involved in romantic love.