I wasn't making music for the sake of music but rather making music in the context of other music. At the same time, it doesn't mean I'm not going to try and do that some day.

The very nature of limiting something from an infinite to moments in time creates distortion; analog recording methods create all kinds of distortion, they're just not digital distortion.

The technical reason why remastering is valuable is because, up to around the late 90s, there was this endpoint called zero, and you couldn't get louder than zero.

I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.

I don't have a role model, but I certainly have always enjoyed Neil Young. I had the great pleasure and opportunity to watch him from the side of the stage on a couple of occasions, and his on-stage sound is incredible.

The corporate system is fully psychopathic, and any creative people who enter into business with any of these organizations come up against a lifetime of issues. You just deal with it as you go along. It'll keep on happening until people reorganize the organizations.

I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general.