My first two records were more energetic; Phantom Moon is subtle, quiet; so these various reactions are just something I expected.

If I were to do this over I’d play a lot more shows before I made a record.

Ultimately, if I’m really moved by something, it’s going to go on the record and that’s that.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.

I’m a pretty big P.J. Harvey record fan and you can really hear New York in his record.

The difficult thing about a pop record is that you’re given guidelines: it has to have 3 choruses, and then it must be between 3 minutes fifteen seconds and three minutes forty-five seconds.

The experiences of promoting my first album were really something; there is so much illusion in my environment (touring and pop music) that I wanted to clear away.

A real foolproof way to do it is play your stuff by hook or by crook and build up a grass roots following.

I make the kind of music I like.

I also wanted to make a record that was about other things than romance, yeah, after two years on the road singing all the songs from the first album, I got kind of tired of that.

My first two records were more energetic; Phantom Moon is subtle, quiet; so these various reactions are just something I expected.

It’s inevitable your environment will influence what you do.

Simon Hale, the British arranger, does all string and wood arrangements on my records.

I privilege the music over the lyrics.

I’d have these weird experiences where I’d just be walking down the street with this chord progression in my head, this happened more than a few times, and I’d walk home and find a fax in my machine and it would match the music in my head.

Things come to me pretty regularly. There is never a shortage or a backlog.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

I think my Buddhist practice has a profound influence on my life and encompasses my creative projects.

I try to make sure that the Buddhism is more or less implicit in the music rather than explicit.

I think in a way I was probably completely naive about what it takes to make something become a hit.

I wouldn’t say that I’ve had a tough life by any stretch of the imagination.

I started playing music at a pretty young age.

But I can’t really say there is too much modern music that I’m blown away by at this moment.

I mean, at the end of the day when I’m making a record, what I want to do is what I do.

Lately I’ve been a workaholic. I’m in the studio all the time and I’ve helped to produce a couple of artists.

My second record was all about big ideas – I was trying to make big statements about the culture, about life. I think in a certain way, I was a 27 year old kid with a guitar.

I actually am always a music first person.

I feel fortunate about being able to make the music I want to make and getting away with it.

I got a publishing deal with BMG, they were supportive, and some money to record demos.

I actually think sadness and darkness can be very beautiful and healing.

I’m fortunate I have this coterie of musicians around me to help take music to next level. Being surrounded by so much creative energy, so many creative people really feeds that creativity in me.

Happy music doesn’t tend to move me much.

So I started chanting when I was nineteen, which was about twelve years ago, and it really had a huge impact on my outlook, happiness, and general creativity.

Because of my Buddhist practice, I’m never lacking for inspiration.

I certainly wouldn’t say that my life is a disaster, but there have been moments where I’ve felt like that.

And frankly, when I made that record, hit songs were not what I was trying to achieve.

So, once I’ve written a song, you know, I’m pretty happy with what the song is on its own terms.