I think maybe I'm trying to forget or not be so conscious about plastic circuitry and just go for the feeling.
I've been trying to write really simple songs to make them sound like they're coming out of a satellite that's crashing into a gas giant or something.
I hate the sound of my own voice. It's just up there, sort of naked and exposed. Live is hard, because on my records, I play almost everything on a lot of stuff. In a live situation, I can't control everything. I use two different microphones. One is just clean, traditional sound, and the other one is basically a cheap cassette-recorder microphone that goes through a distortion box to emulate my voice on the record. That helps some.
I'm f**king pathetic when it comes to being an entertainer. People come because they want to see me have a nervous breakdown.
When people want me to sign records they usually always have Vivadixie[submarinetransmissions], and I think that's a lot of people's favorite record. And that was sort of when I was just learning what I was doing.
Daniel Johnston is the purist and most unpretentious artist of our generation
I never really made much money playing music. It's because I've never really worked with a producer who could make my music sound, I guess, like how the public wants it to sound.
It takes me forever to write songs most of the time.
A lot of that I base on, "Is it still going to sound interesting and fresh to me in five years, am I going to be embarrassed by this in five years?" It's easier for me to do stark, moody, pretty stuff, and I have all this pop stuff inside me, but it's a lot more dangerous, and pop is just apt to sound contrived and sort of pedestrian if you're not careful.
A lot of the stuff I listen to is glitchy electronic stuff and stuff with beats.
