Every time you pick up an instrument, it's not always out of necessity - for a certain kind of person, it's a choice.

I was listening to this Ngozi Family record, 45,000 Volts, and it's mostly this guy singing, and then for the choruses, he's doubled. And it's not even harmonized, it's all the same note! And I'm like, "Oh, that sounds epic." I don't know, it's just one of those arbitrary taste things.

Every time you pick up an instrument, it's not always out of necessity - for a certain kind of person, it's a choice.

You want to make music that reflects your ideals, but considering the isolating process of recording and the time and energy requirements of touring, there aren't a lot of opportunities to express those ideals anywhere but the music itself.

Being in Portland is cool. I have some good friends here and the general feeling might be a little more welcoming.

The lyrics to me are a result of the emotional and creative climate present while making the record as well as personally going through a sort of mid-twenties stock-taking.

Speaking for myself I have influenced with lots of John Coltrane, Van Morrison, Joanna Newsom, Mississippi Records compilations, Simon & Garfunkel, Duncan Browne, Judee Sill, Sublime Frequencies releases, Ali Farka Touré, John Fahey, Flower Travellin' Band, Sagittarius, Toumani Diabaté, Philip Glass, lots of different stuff.