I feel much more physically connected to my voice, and I like the physicality of the voice, and how the voice can physically occupy a song.

When you're listening to a recording, you're supposedly listening to some aspect of the past in the present as you travel slowly into the future, but you also know there's a very strong likelihood that the future of that recording, whether you made it or whether you're listening to a Led Zeppelin record, is going to continue probably far beyond where you are.

I've never done a video where I feel like the images have anything to do with my song, except in the most vague way possible, because I feel like the song is its own complete thing. But ideally, a song is a complete sphere like the Earth, where if you were an alien with a huge, huge finger, you could stick your finger into the middle of the ocean and make an impression on it. It’s not an impregnable sphere, but it is a sphere.

I am thrilled at most corners that I turn walking down the street, I'm thrilled by most pages I turn when I'm reading a book thinking of what it's going to show and what it's going to make possible for tomorrow.

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

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

I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.