It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

A record is something that isn't real or true. It's like cinema. It's a construction of something hyper-real and surreal and unreal all at the same time. You make a space that doesn't really exist. One of the big joys of being in this line of work is building the recorded versions of the songs.

You're making something that won't be what it is until some unknown date in the future. All aspects of the personal disappear.

There's nothing that compares to watching that final of Charles Mee’s 'The Glory of the World' play at BAM17 to 20 minute sequence in one sitting. It fills you with a giddy energy watching that. Then, being gifted with the silence that follows...I've never had a theatrical experience like that before, I'm sure.

Every recording session and tour is a very valuable time to me in terms of getting to spend time with the musicians - whether they're friends and family or people I've just met - because I don't have a job where I get to interact with people everyday.

On days where I feel the karma is in balance I'm not afraid of death. And when I feel it's weighing heavily on the negative side, then I get very scared and just think about eternal damnation and how unpleasant that would be.