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.

You have to make rough decisions with sequencing and work within the limitations of having good audio for 15 minutes on a vinyl side.

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 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.

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.

Sometimes it's a fraught, kind of laden world of performance that I think can be really dubious, but it's also super fun to almost desecrate an instrument that for 500 years has been associated with God.

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.