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.

Most people just give up with time and go, "I'm a victim." The only reason I've got the reputation for delays and spending a long time on things is because I just don't stop.

In reality, there's a limit to putting a record out yourself. When it comes to working with major record companies in the context of them owning anything, though, that will never happen. Ever. In my life.

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.

When I'm listening to stuff on the computer or through a horrible little speaker on my phone, and then I hear the real version with the bass and everything, I sometimes don't like it as much. I definitely believe that any medium is viable in that respect.

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.