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I don't really have a domestic inclination. Even my apartment has a semblance of a storage facility. It's just stacks, there are no bookshelves, just books and piles of stamp collections and weird little sewing and knitting projects.

I'm pretty involved in everything I do, which isn't always efficient and doesn't necessarily make for the more successful product. But I do feel that, in that sense, everything I do has a comprehensiveness to it.

You know, I don't think my music is important, I don't think it's changing the world, I don't think it's art. I just think it's music. It is what it is.

I'm a very self-conscious person; I think we all are, but I'm especially not very comfortable in my body. I always feel really weird and awkward on the street or on the stage. It has nothing to do with circumstances; it's just an ongoing psychological state, like white noise.

It's traumatic to meditate on the availability of information through the Internet, or the way we perceive the world as a result. People don't experience things totally or viscerally anymore. It's all through representation, be it a record on YouTube or a post on a blog.

I feel like the Internet needs to be disarmed in some way. There needs to be a philosophical undermining of the Internet. We take it too seriously and too literally. For a reference we go to Wikipedia, which is full of inaccuracies and misinformation. It's kind of beautiful - it's all the product of imagination; it's not reality at all.

I think musicians should stay off television generally.

My only concern about art collaborations is that I never thought of myself as an Artist. My tax forms say Musician/Songwriter.

I still feel like I have a lot to learn in the realm of sound experimentation, and I think I would like things to get noisier and weirder and more distressed and more aggressive, but I don't know if that's something that would be suitable for public consumption.

I'd like to do a record that doesn't even reference actual places. Because I think it's kind of an open-ended concept. It doesn't have to be taken so literally.

I've read in a couple stories that I was raised Episcopalian, but that's not true. I think that's just people assuming things. In some ways, I wish I was raised Episcopalian. I was kind of raised hodgepodge.

I was sort of born into a Subud cult that has ties to Islam and Indonesia and Middle Eastern spiritualism. My parents were kind of trial-and-error when it came to religion.

I wouldn't mind being popular in other ways, but not with music.

I don't think it's so hard to be commercial and interesting. Look at Prince, or Neil Young.

It's hard to say if actual places really affect the way you write.

I believe that music is a spiritual language. My everyday self is pretty mundane and boring, but when I'm making music it allows for me to communicate a kind of transcendence that I can't communicate otherwise.

Audacity is central to everything I do. A lot of times I think my work is about just seeing if I can get away with it.

I am not naturally inclined to history or geography - maybe that's why I like to sing about it, because it helps me remember.

My music is just about story telling. I don't have much to say, and I'm not trying to change anyone's mind. I'm just singing through conviction about what I love and what I care about, starting with the very small.

Morals, principles and laws are when faith is reduced to standards and those standards basically just bind us, and we become prejudicial, racist, self-serving when we're guided by these laws... When a developed country uses Christianity in its policies, in government, in maintaining corporate wealth, that's a bastardized rendering of a faith.

My anxiety level of my own work and what I'm doing and focusing on my art and all of that stuff? That's fundamental.

A musician's attempt to summarize his or her work leads to all this prescriptive chatter, or what I call the 'Modifier's Madness.' A lot of adjectives working overtime.

The best fiction is geared towards conflict. We learn most about our characters through tension, when they are put up against insurmountable obstacles. This is true in real life.

I think I get a lot of ideas from when I was a kid, listening to Casey Kasem's 'American Top 40.'

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