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've always thought that each album would be my last one, and then I would be out of ideas and I would move to photography or something. I thought it was transient and it's not because of this entrenched career stubbornness that I've done it for so long, it's just something I enjoy doing, and it's the most direct way I can express something.

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've always said my records are these failures of not getting where I want them to go, they end up detouring somewhere else, so on one level it's partly a disappointment, and on another level it's being comfortable with surrendering to that kind of state of becoming or whatever.

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.

If I was completely satisfied with an album, I'd probably give it up, because that'd mean I had attained some kind of state that was greater than I'd ever hope, so I think I'd just give it up. But I don't think that's going to happen.

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.