I create work, and I devote myself to the creative process, and I try to stay pure in that process and be worthy of the messages that I receive. You can't sit down and write 300 compositions in a three-month period and think that you're doing it all by yourself.

I don't ascribe to the idea of the ivory tower composer who sits alone in a room composing his masterpieces and then comes down from Mount Sinai with the tablets. It doesn't work like that. The job of a composer is putting something down on a piece of paper that will inspire the person who's playing.

If you can make art with sound, can't you make music with objects?

Classical stuff takes a lot of rehearsal time and preparation, but with stuff that involves improvisation, you can over-rehearse it and it gets stale. You don't want it to be too comfortable. In fact, a good sound check, a good rehearsal usually means a bad performance.

I feel like there are messages. I feel like there are angels. I feel that there is a legacy and an energy. And I feel that it's possible to tap into that.

I have about two or three people, we don't have an office, we don't even have a dedicated phone line. We do it out of our own homes, and we make it work.

That was my challenge as a composer. Like with anything, to keep yourself interested in doing what you do, you set yourself challenges. So I said, Okay, I'll try to write a hundred tunes in a year.