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.

I'm fascinated by simple joy.

No one who strives with full faith and heart for the blessings of eternal life will be denied. And how great will be the joy and how much deeper the appreciation then after enduring in patience and faith now.

One of my realizations is that if you revel over joy, you're going to ache over pain and get killed over hurt. Your span of feelings are going to go just as far one way as the other.

Films like 'Namo Venkateshaya' give immense satisfaction, happiness, and makes us feel blessed, and so I consider it the best film in my career.