When I listen to little fourth-dimension artifacts, they're like they were made as time capsules in the first place. You know that when you're writing the song and recording the song, you're already sending a message to the future listener, whoever and wherever and whenever that will be.

With women, you always have to make an educated decision to figure out what they're thinking. It's not one that's necessarily sympathetic, always. Of course, we're all human beings, but the gender thing is big thing. And a great thing.

I figure it's okay to make certain rules, whether or not people despise you for it at the time.

One thing that the Internet has created is the sense that information is at your fingertips, when it's really only a very, very limited, specific, and slanted kind of information.

The less people present in an urgent situation that a moderately high stakes recording session can create - the less people there are in the room - the more openness there can be. These songs share that as well, in addition to just the obvious, basic starkness.

To sing with other people and for other people, that's when you can really learn something about your voice. You can only learn so much if you create your own boundaries all the time. But then, other people can really teach you something. You know, if you're trying to sing with them, or if someone brings a style.

I think records and music are more appropriate and more respectful of the human soul than the churches are. And more respectful of the needs of humans to communicate with the aspects of themselves that are neglected by language.