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.

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.

There's a limit of any form of representation; it's the same about writing about visual art. I still think it's useful for people to think through things in a deeper way, and use adjectives even if they're not sufficient, you know? I always find it interesting what terms they use to refer to the work. It's always different, and that's kind of intriguing. Sometimes it's clichés, but often it's really creative ways of paraphrasing or reformatting what to mean seems something else. I like that, personally.

I work with digital audio, which is like sculpting, a form of chiseling down metal or wood. And I take audio and move it back and forth between the analog and digital realms and work with it almost like a plastic art until it takes forms in different shapes. And I use those figurines that come out of that type of work.

I definitely enjoy liturgical work and choral work from the 15th century and 16th century, but I play in churches with a bit of trepidation, and it's not something I enjoy because there are all these problems. It's an implication that you're part of the theological apparatus, like for atheists or something, and I don't like that. I like playing with the form, inhabiting the tropes of religious music without that promise of angels at the end. It can be awkward, you know?

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.

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.