My peer network is international. It's people all over the place who I know, and respect their work. It's not really delineated by traditional nationalist ideas.

I definitely enjoy liturgical work and choral work from the 15th century and 16th century, but I play in churches with a bit of trepidation, and it's not something I enjoy because there are all these problems. It's an implication that you're part of the theological apparatus, like for atheists or something, and I don't like that. I like playing with the form, inhabiting the tropes of religious music without that promise of angels at the end. It can be awkward, you know?

I'm not an anti-online person. I get what the modern world's about and I understand that that's the nature of music dissemination.

I love vinyl, but I'm not a 'vinyl person'. I still collect, but most of my stuff is digital.

I'm trying to find a way to make music work as a living. People used to make their living selling albums. Those days are over! It's kind of an odd time. I guess it's kind of like writing.

If I was completely satisfied with an album, I'd probably give it up, because that'd mean I had attained some kind of state that was greater than I'd ever hope, so I think I'd just give it up. But I don't think that's going to happen.

I try to structure albums in a pattern, like in a way where there's a motif that runs throughout or some kind of conceit that informs it in a general way. Maybe it's in a harmonic key. I like to go metastructural sometimes, like look at more than the three-minute passage and how that interacts with other pieces. And I've been increasingly interested in false starts and fraudulent beginnings, and things that don't reach their implied conclusions. I take an album and I kind of start moving things around like Jenga.