I started with the earliest tools: mashers and cutters, knives and knots. I would cast them in paint, and embed them right in the surface. I was using plastilene clay to make the molds. One day my friend Art Schade said, “Why don’t you just make the paintings on the clay ?” It was one of those moments where you hit yourself in the forehead. So I built a big clay table, eight by ten feet. And I could engrave the surface in all kinds of ways.

From one particular piece of the sky an unclassifiable signal sometimes recurred and my brain started to say: “You’ve seen something like this before, haven’t you? You’ve seen something like this before from this bit of the sky , haven’t you?” I got out previous recordings from that bit of sky. It often wasn’t there, but when it was, it was keeping its place amongst the stars.

It’s completely spatial. I follow Graham on that a lot. I really think that painting is about space and proportions and where things go; it’s what painting is. Form, if it isn’t the right color, it is not in the right place. And you know you can actually change the relationships a lot by changing the color a little. Yesterday, something happened in my studio. I realized that new things come to you all the time when you work in art. I had forgotten that if Graham wanted to make something slightly off-white, he used violet instead of greying it, and it’s really good. So, last night I remembered that, and the painting worked out.

I typically will look and see if I have enough songs that I’ve written over a course of however long. For Wisecrack, it was a very conceptual album to me, so I had such a vision and when I met Dave Vertesi who produced it, he just understood it. And so it was really easy. I didn’t have to look anywhere else for producers, he was just kind of like, “Okay, this is what we’re doing and this is what I want it to be, and you get it.” And so it’s super easy and really painless.