![]() There seems to be a very visual aspect to your music, and you self-describe as a “photograph-taker.” How do you perceive the overlap between your music and your visual work? I always embrace room noise and analog artifacts, so my process has always been pretty loose and adaptable anything that allows for spontaneity is a plus. The upside is that there are way more than four tracks to use, and the editing abilities are much greater. Can you elaborate on the tools and limitations that are key to your composition process, and perhaps how working with other artists has informed your workflow?įor me GarageBand is like a digital version of a cassette four-track, which is what I used to make recordings from about age 12 to 20. Software-wise, I understand you use GarageBand as your go-to workstation, which I’m sure has its limitations, yet you manage to make incredibly layered music. Not that I’m a fatalist, but I try to be receptive to the world and attentive to my inner self, and it’s led to a lot of very cathartic and fulfilling projects. There’s always seemed to be some kind of unnamable, unquantifiable intuition that leads me around the next bend in the trail. What sort of factors do you find help to determine the direction you take with each release? ![]() Being the one on tour, I have no idea how other people internalize or experience the show, but the conversations I’ve had with people over the years convey a very rare connection that means the world to me. Sometimes you end up playing a no-cover bar show for the post-work rabble, but that can be fun, too. I find that most audiences everywhere understand the benefits of silence and respect during a show, which makes a massive difference to someone on stage. In what ways do you find that the way people engage with your music differs here versus in Europe or elsewhere? You’ve just begun a rather extensive North American tour.
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