I do spend time trying to find good melodies, and I try to remember them when I do discover them. But also it's mostly intuitive; I noodle around with the line until it sounds and feels right.

I feel like I spend most of my time in a state of writer's block! When things do come out, they come out quickly.

Twitter is so stupid. I mean, it sucks!

Somebody from Pitchfork Festival wanted me to have a Microphones reunion. It's a joke. It's just me.

I'm singing these songs about death and stuff. I see somebody who's, like, in their sixties or seventies at the show, and I'm like, 'Yeah, sure. Fair enough.'

I was really into Michelangelo in seventh and eighth grade.

It feels weird to play songs that I don't really... feel any more.

In 2002 I did a big tour of Europe, by train, by myself, on foot, all the time walking from train station to the venue, in a weird town, in a weird country. I'd brought an acoustic guitar with me but it got broken somehow in transit.

It has happened a few times that I've found myself in a surprise mid-tour recording session.

After many days of grocery store food, sitting down for a deliberate, slow, expensive eating time can be the best.

It's challenging to live in Anacortes. I lived in Olympia for five years, went on tour for a year, ended up in Norway for a winter, and ended up back in Anacortes. But I have a long life ahead of me. I'll probably live in many different places, and then die in Anacortes.

There are some people that are trying to cure death, this tech immortality... That seems mentally ill.

I am commodifying my grief, to put it really bluntly. I accept it. And I try not to think about it.

The universe is chaotic and meaningless, and it's good to laugh about it. That's my stance on life, actually. Some people go through life grinding their teeth, suffering and banging their head against the wall. I'm glad that's not the reaction that occurs in me.

My daughter is like a tether back to the functional world, and I'm aware of how helpful that is.

Grief - the actual, natural process of it - doesn't have a schedule that I can work my life around.

On CBC Radio, the Canadian national radio, there's a show called 'WireTap.' The host is Jonathan Goldstein. It's amazing.

I start with the aim of making something instrumental, and then I'm just like, 'Agh, no, it's not interesting enough. I've got to say something here.'

I like Copenhagen, just because my shows there have been really good for some reason. Not that I love the city itself, but every time I play there it feels amazing. Pretty nice people there.

I think I'm obsessed with accessibility which is why, when I'm touring, I want to play all ages shows.

I am so thirsty to do my projects whenever I have a spare moment.

There are parts on 'Wind's Poem' that are literal recordings of wind. I had this old sound effects record that I got some wind from and then I figured out that distorted cymbals sound just like wind so I used that a lot.

Usually I work at the merch table until one minute before I have to go on stage.

In the early '50s, my great-grandmother and grandfather raised a baby gorilla named Bobo who wore clothes and played with the neighborhood kids.