You have to make rough decisions with sequencing and work within the limitations of having good audio for 15 minutes on a vinyl side.

I'm not a peak oil person. I'm not a biohazard apocalyptic kind of freak. I don't have a supply of weapons or gold bars under my house.

Sometimes it's a fraught, kind of laden world of performance that I think can be really dubious, but it's also super fun to almost desecrate an instrument that for 500 years has been associated with God.

I love vinyl, but I'm not a 'vinyl person'. I still collect, but most of my stuff is digital.

I definitely road test music. I'll drive in the car and look up at the sky and that often makes it more clear, like what's good and what's not. Driving in darkness is amazing, because you really feel the energy and what has presence, spirit to it, and what doesn't.

Working with devices and guitar pedals and mixers and synthesizers is what I do, and I prefer people not focus on that because it's kind of distracting from what the point should be. At least for me, it's to have the primacy of aurality in the experience of that evening.

I work with digital audio, which is like sculpting, a form of chiseling down metal or wood. And I take audio and move it back and forth between the analog and digital realms and work with it almost like a plastic art until it takes forms in different shapes. And I use those figurines that come out of that type of work.

I did dance music for a short period of time but I felt like the fruit for me was in the outer dance world so I stopped doing overt techno and I think, in terms of rhythm, I enjoy things that feel like they're falling off, like they're just barely holding on.

I've always thought that each album would be my last one, and then I would be out of ideas and I would move to photography or something. I thought it was transient and it's not because of this entrenched career stubbornness that I've done it for so long, it's just something I enjoy doing, and it's the most direct way I can express something.

I found all my reading and writing informed my music in subtle ways. Ravedeath came out of studying the pipe organ, going to New Jersey - the world's loudest and biggest pipe organ.

There have always been people making music. On their porches, playing folk songs. Playing piano in quiet salons. You don't have to listen to every MySpace page, so what's the difference? It's just noise that you filter out.

Vinyl's just a fun endgame step. I work with analogue signal chains too, but the mp3 is the way I listen to music.

I take the literary or textual aspect really seriously and I really enjoy writing weird album titles. I did a PhD I enjoy writing.

If I was completely satisfied with an album, I'd probably give it up, because that'd mean I had attained some kind of state that was greater than I'd ever hope, so I think I'd just give it up. But I don't think that's going to happen.

I'm trying to find a way to make music work as a living. People used to make their living selling albums. Those days are over! It's kind of an odd time. I guess it's kind of like writing.