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.

Vinyl's just a fun endgame step. I work with analogue signal chains too, but the mp3 is the way I listen to music.

I wouldn't say that I'm a consummate live artist. Album work is kind of just like quilt weaving or something. But live music is just like a method of emptying out the mind through volume. Volume as a form that allows you to do different things. And that doesn't really translate to recorded music, like how do you listen to that, on Spotify or in your car? It's not the same kind of effect. I would say that the loudness is a huge part of what I do live.

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

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.

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.

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.