The ideal is to put on shows where, if you go into the same space again, you don't remember ever having been there before, because where you were was a space that only existed that one time, created by the music.

Venues are all the same, all feel the same, these generic blank spaces. I like artists like Lightning Bolt-bands that go in and kind of change things every time, play on the floor, set up in the middle of the room. They go in and they reinvent the space every time, which I feel is like the kind of thing that should just be happening.

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.

A vocal performance “Coming Together” is hard, but it's the kind of hard that if you work hard enough at it, you can do it and it feels great, because it was so hard. So we'll continue maybe even over the next couple of years to perform that and to expand our collaborative repertoire.

If we were making a record in Kentucky, there might be some more elements that recall a time, a place, or a relationship. Recording for the BBC you enter into this strange and wonderful, but kind of sterile, place with which you have no personal history, and that's the Maida Vale Studios at BBC in London.

As far as implying that we know what we're doing, that we have perspective enough - by diving fully into something it requires a lot of denial, and denial is always dangerous even if all of your intentions are good and all your preparations are good. When you make a choice you're denying an infinite number of other choices.

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.