I've always thought that each album would be my last one, and then I would be out of ideas and I would move to photography or something. I thought it was transient and it's not because of this entrenched career stubbornness that I've done it for so long, it's just something I enjoy doing, and it's the most direct way I can express something.

I take the literary or textual aspect really seriously and I really enjoy writing weird album titles. I did a PhD; I enjoy writing.

I wouldn't say I'm ego-less, but I'd say there's something uncomfortable about the presentation of one's self in the media. Any image sent out is permanently in the spin cycle. And there's a paralysis of that, the way your image is presented. I've always been hesitant, but I'm definitely not shy or anything.

I'm not a nostalgic person for the glory days of 8-track sales at the local K-Mart. But there's a little bit of flattery and a little bit of horror. It's a mixture. It's like sublime shock and awe, but also terror. That's always the way I feel about how music flows through those types of networks. I'm mostly cool with it, but I definitely appreciate when people support the work.

I definitely road test music. I'll drive in the car and look up at the sky and that often makes it more clear, like what's good and what's not. Driving in darkness is amazing, because you really feel the energy and what has presence, spirit to it, and what doesn't.

We should do an Adorno reading on Skrillex and vodka sales in Vegas. It's definitely interesting. What's interesting in that music for me is the harmonic density in some crazy melodic line that sounds like some Michael Bay film eating itself. Which I enjoy in the same way I'll watch a cracked up Hollywood movie. Yet rhythmically, I guess that music just funnels more into predictable cash outcomes.

Offness yields a hypnotic effect. The brain can see simplistic patterns that lock and it's boring after a while. I don't cater to that.