To me, recordings are little fourth-dimension artifacts, because they already are representatives of past, present, and future, just inherently in their existence.

Sometimes we need to tell ourselves that we're not going to do certain things, just in order to stay sane.

I don't like going to cities. I don't mind maybe being in a city sometimes for a few hours, but I pretty much don't like cities. I don't even like passing through them.

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.

I have a mantra that kind of explains my feelings on this subject, which is, "The past is the present is the future." When you're recording something, you're making something that will exist in the future.

The first music I bought when I was nine or 10 was pop music from the '50s and '60s, like The Everly Bros., Elvis, Del Shannon, The Flamingos, The Platters, whatever I could get my hands on. And then some musical things, like Camelot, Singing in the Rain and Hair.

I want to be successful and I want people to hear the music and I want to make money at it, but if it isn't what you do, eventually it seems like that will cause you to not be able to do what you do. If you did that for a couple years, you would just become someone else, which is fine, I guess...but I don't want to become someone else. I want to do what I enjoy and what feels right.