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'Gatekeeper' was sort of my first attempt to put a little bit of a frame and boundaries around songwriting, and try to figure out a way to approach it that had a sort of end result in mind. I haven't written many like that.

When I first played '1234' it was on stage in San Francisco at some kind of, like, sticky-floored club. And it felt like a punk song. I mean it's ridiculous to say that now, but it had that kind of, like, piercing straight melody. And then this fist-pumping ending, you know that pa-dap-pada.

Well, there's just some universal truths in a way that I've just observed to be true. You read Voltaire. You read modern literature. Anywhere you go, there's these observations about romantic love and what it does people, and these rotten feelings that rarely are people meaning to do that to each other.

Something that I think I figured out slowly was if you're playing a show and there's a chatter or there is, you know, a lot of noise - people talking or something - I was never the one whose instinct was to try to be louder than them.

You're an enormous sponge and everything goes in there and you squeeze it out in songs, I guess. And if you're a painter, you squeeze them out on to a canvas.

I made the first Feist album in '98. So at that point, it was my nickname. It was as far as with my circle of friends, and just felt more accurate than two names.

For me, music is in the choice of what not to play as much as in what you've chosen to play.

You never know what's going to play into what's worthy of getting encapsulated into a song.

I live and die by puns.

I need therapy after writing. It's like leaking blood from a stone. It's brutally difficult but worth it.

There have been times I've planted stuff in songs where four years later I'll be singing it from a subconscious, kind of chameleon little lizard mind... and at a certain moment, all of a sudden, I'll hear a line from a different vantage point and it'll change its meaning. It's something I wrote but it changed because I did.

If you keep bashing your head against the same wall, at some point you're going to fall over and be still for awhile.

I get really scared about how the Internet is shifting and changing everyone's minds, and the way we see ourselves and interact online. Everything is so diluted now.

I once looked over the shoulder of a friend on Facebook and it looked like hieroglyphs to me. There's merit online, of course, but social media gets super freaky. Imagine if three generations from now, people online have forgotten what date or day of the week it is.

There's real potency in metal. Metal fans love metal as if it's a nation they would fight for. It's not diluted by pop culture.

Opinions are like snowflakes, you know what I'm saying?

When I was in Beck's world, I felt like the little sister. I'm in the big brother's room with all his friends. You just hang out and keep your mouth shut so they don't realize you're there and kick you out. I like being in situations where I can be an underdog, where I can be in the corner and observe and soak it in.

Commercialism isn't challenging creatively; it's only challenging in a stamina way.

'Metals' has partly been about me regaining my self respect and I feel like I'm growing the muscles I want to grow again.

I remember doing my mosaics or being in my little hiding place behind the couch snooping. I'd get bored sometimes, of course, but I think that's good for a kid, because it forces you to be creative.

After 'Sesame Street,' it's a hyper-familiar world to me and I have this childlike ability to ignore the fact that I'm talking to scraps of cloth. Every country I go to, I see posters promoting the film in different languages. 'Los Muppets' - I love that!

I guess I found it useful to realise that everything is true at once, you know? You can pull back and say, 'Everything will be fine,' but you can also be in a situation and say, 'Not everything is going to be fine.'

When I wrote 'Mushaboom', I was living in the second verse, but I suddenly found myself in the first.

As I get older, the present and the past shift and become the past and the future... A lot of it is a new awareness of time and life and the wheel of fortune crushing you and lifting you and crushing you and lifting you.

Since I was 19, I've always gone where there was a reason to be. Maybe I'll be lucky and there'll be a reason to go somewhere tropical for a while.

So, I'm on 'Sesame Street,' walking around with all these monsters, Elmo and his buddies, a whole bunch of chickens, a whole bunch of penguins and a number four dancing about. It was just pure joy, simple, ridiculous fun, stupid joy. There's no irony. 'Sesame Street' is just a crazy great place to be.

I was a bar-back, which is the person who cleans the bathrooms at the end of the night in the bar, and a cook. I had kind of given up. I was into backing other people up. Music was something I just did on the side and I don't think I had the energy to pimp myself out, like call people up and ask them to book me to play.

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