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.

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 really support criticism as a craft and as a vocation. People who devote as much time to thinking about sound through writing as I do practicing and forming it, the whole system of journalism seems to not yield rewards sustainable as a craft. So few can spend enough time to be serious about it and approach it with confidence and a kind of depth. And that's good on one level, because you have some leveling, that's kind of maybe leveled the petty fiefdoms of undeserving people but it's also made it hard to make a living as a writer.

I'm really sensitive to the beginning of a motif or a phrase or something that's kind of the backbone or becomes kind of the spine that you grow muscle tissue onto. You know from that, if you have that good beginning, it's like everything that grows off it often has potential. Maybe I'm good at that early bit of recognition of pieces of potential. I'm not sure.

I'm not a peak oil person. I'm not a biohazard apocalyptic kind of freak. I don't have a supply of weapons or gold bars under my house.

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

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.