Cities are made for enemies to destroy.

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.

There's nothing that compares to watching that final of Charles Mee’s 'The Glory of the World' play at BAM17 to 20 minute sequence in one sitting. It fills you with a giddy energy watching that. Then, being gifted with the silence that follows...I've never had a theatrical experience like that before, I'm sure.

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.

For a long time I've walked through this world with the desire, like in Rear Window, to look into other people's lives because I know that there is a way in which I am the same as so many of the strangers that I see.

Every recording session and tour is a very valuable time to me in terms of getting to spend time with the musicians - whether they're friends and family or people I've just met - because I don't have a job where I get to interact with people everyday.

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