I found all my reading and writing informed my music in subtle ways. Ravedeath came out of studying the pipe organ, going to New Jersey - the world's loudest and biggest pipe organ.

Working with devices and guitar pedals and mixers and synthesizers is what I do, and I prefer people not focus on that because it's kind of distracting from what the point should be. At least for me, it's to have the primacy of aurality in the experience of that evening.

I found all my reading and writing informed my music in subtle ways. Ravedeath came out of studying the pipe organ, going to New Jersey - the world's loudest and biggest pipe organ.

It depends on what kind of minimalism you're talking about, of course. I love both those artists - Brian Eno and William Basinski. I would say my minimalism references are early American minimalists from the 70s.

There have always been people making music. On their porches, playing folk songs. Playing piano in quiet salons. You don't have to listen to every MySpace page, so what's the difference? It's just noise that you filter out.

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.

You start to think, when you're finishing a record, in twelve- to fourteen-minute chunks. At a certain point, you do write to the format. It's not a coincidence that most albums are between thirty-five and fifty minutes. It's kind of like the 98-minute film. It becomes some paradigm for human attention in the media.