I think that all music is inherently political, and, at the same time, I'm interested in the politics of inclusion not exclusion. So I think that my goal is to make music that anybody can hear and feel moved by.

When an old tape machine makes pitch wobble, some people would say that compromises fidelity and would try to get rid of it. But to me that wobble adds richness, it instantly brings back the feelings you associate with old recordings.

I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.

I feel like I've had this ability to infiltrate, as an outsider and an insider, different groups.

There's a tendency in politics to attribute bad motivation much too quickly, and the sooner you attribute bad motivation to someone you disagree with, the harder it is to find some common ground to make some progress that would give people confidence that you got it more right than wrong.

Our only solace as writers is in the work itself, and perhaps also in a penchant for blissful ignorance that allows us to gamble, to risk, to keep going where others would tote up the odds and stop.

Human requirements are the inspiration for art.

The knack is to find your own inspiration and take it on a journey to create work that is personal and revealing.