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.

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.

I felt so liberated when I first saw Charles Mee’s 'The Glory of the World' at BAM play, because for me this is the gateway to contemplation, or this is the gateway to love, or this is the gateway to faith, not sitting and reading a book by an isolated monk, god bless him. This is.

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.

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 feel like, for me, reading Thomas Merton is like “Wait a minute, this is a rabbit hole. This isn’t a gateway or a ticket to anything except itself”. When you're a ways into it, you're five pages in, 20 pages in, 30 pages in, it seems like one of the more oxymoronic undertakings you could attempt.

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.