My ignorance would require a volume to itself. Between its covers would be preserved a record of the spurious model of all creation I had in my head, a prelapsarian construct, uncorrupted by the facts.

The goal of all my work is essentially the same: demonstrating that magic is real or that reality is magic, by paying attention, and finding compensation or consolation for what is essentially a tragic existence.

I've written a lot of wordy, erudite, pretentious songs, but believe it or not, I'm usually doing my damnedest to resist the temptation to be overly "clever," and trying to keep things as accessible - and singable - as possible.

I remember Bob Dylan saying in an interview that at a certain point he'd had to learn to do consciously what he'd previously done unconsciously or automatically. That resonates.

One of the beauties of working in radio is the way a whole setting can be richly evoked simply by the addition to the track of a little birdsong and a church bell in the distance.

Anyone who grew up in the psychedelic '60s probably experienced their share of hypnagogic fireworks. Just as sex got me hooked on anatomy, so drugs were probably what first got me interested in entoptic phenomena, phosphenes, and hypnagogic imagery.

My ignorance would require a volume to itself. Between its covers would be preserved a record of the spurious model of all creation I had in my head, a prelapsarian construct, uncorrupted by the facts.