For sure. I think that’s why I also work in other mediums. Sometimes I have the urge to make something. Sometimes I want to make a poem but at that moment I can’t for whatever reason, so I work with other materials. I like to do sculpture; my sculptures are usually more like objects. I also play music here and there, but I just do these things to kind of help me with writing… I use these other ways of making to help keep my wheels moving in one way or another, and eventually the language will come for writing. Sometimes I do get writer’s block, but I have never really viewed it in that way. I still try to make things even if I don’t have the language or words to put to it in at the moment.

I have a DJ side that I’ve developed, and so when creative blocks hit me I tend to spin a lot more than usual. Also, just trying my hand in other fields. I’m looking at sewing classes the next time I have a creative block.

You know, I have doubts, but the images, like the movies, always inspire me. So when I’m empty, vacant, I start watching any movie, b-class, c-class, it’s okay. B-class kung fu movies are so inspiring. The music, for kung fu movies, very old kung fu movies, not sophisticated ones, is so inspiring. They’re so wild. I was watching those kung fu movies while I was making async .

There’s a good amount of momentum between projects. I worked in design for 10 years, so I don’t have time for writer’s block. I don’t have time for creative blocks. That’s my perspective on everything. When you’re working with a client and it’s not necessarily for yourself and it’s about a timeline, it’s about deadlines, and it’s a very structured process and you’ve followed that—especially if you’ve been let go at certain jobs because you didn’t follow that—you just kind of get over yourself. But, I dunno. And that’s maybe not the greatest thing to say, but I think that’s a responsibility to have, man. Just making sure that you’re not out of it all the time. Making sure that you can actually deliver.

I know what you mean, but there are two kinds of voids, the one that you work with and the one that you bear. I work with and try to generate a void. I pick up the guitar and I let my mind wander until it gets distracted and suddenly it lost its purpose. It’s just wondering between one chord and the other, one subject or the other, or maybe I would just be distracted watching a film and something moves me, or the light in the window and then I let that feeling guide me. I always use this metaphor. It’s like getting into a garden at night and suddenly perceiving a perfume of a tree or a flower. You don’t know exactly where it’s coming from, but you know there’s something there, so you start sniffing around until you find it. You get closer and closer to the source until you identify it. That’s the way I write. What I mean is that suddenly something crosses my mind and I just follow that. I try not to lead at the beginning. I try to follow and then whenever I find that I take, I use reason and I organize. I say, “Wait, I need a second part with the same structure. I need a bridge. I need a chorus. Let’s go. Let’s move to this place. Let’s change this rationally,” but the core has to be subconscious.

I keep messing with it until it gets to the mix table. Sometimes you can’t just change the whole song, but maybe I can change a verse in the very last moment or a chord or the introduction to the song, or the song’s order, some fade-ins or fadeouts. It’s a tough process letting go, saying, “This is it. It’s going to be this way. There were multiple choices, but we’ve chosen this one.” But it’s also a relief because it means you stop wondering. You stop thinking about it and you just let the songs find their own way and say goodbye to them and hello at some point because you’re going to start playing them live and it’s a way to actually get to know your song once you finished it. I usually know. It feels like a release to let go of a song.