If somebody wanted to go and find songs of mine to fill an iPod, that aren't on any records. They could probably find dozens of songs besides the ones that are on records.

I'm much more into someone who is telling stories than somebody who is writing a record about their breakup. It's just more interesting for me.

I love stories, I love myths, I love fairytales, I love Kafka.

[A]s soon as you try and take a song from your mind into piano and voice and into the real world, something gets lost and it's like a moment where, in that moment you forget how it was and it's this new way. And then when you make a record, even those ideas that you had, then those get all turned and changed. So in the end, I think, it just becomes it's own thing and really I think a song could be recorded a million different ways and so what my records are, it just happened like that, but it's not like, this is how I planned it from the very beginning because I have no idea, I can't remember.

You make something, and you really have fun with it, and you try to put emotion in it, and at the end of the day, you have no idea how the tide is going to fall. You don't know if everyone's going to like it, if everyone's going to hate it, if it's going to be like you're a media darling, or all of a sudden you're a sellout. You have no idea.

When I think of my art tribe - you know, my peeps - there are certain people who are autobiographers that I really love. But for the most part, overwhelmingly, my tribes are the surrealists and the storytellers, in song and literature.

I'd always wanted to work in the studio and experiment with sounds. Things that I'm really influenced by and that I love are like The Beatles and Radiohead, and all those records by bands whose music is really involved.