Usually bands with violins - it's this little, poorly amplified looking kind of futile on stage, and that's not the way that my music is put together.
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I create little challenges for myself, like, 'Okay, whatever you do in this song, you've got to somehow work in Greek Cypriots,' or something like that.
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There is something comforting about going into a practice room, putting your sheet music on a stand and playing Bach over and over again.
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A day off after a show with no agenda in a foreign city is about the most fertile creative situation I can imagine. Just walking with nothing to do, killing time and hearing the sights and sounds of an unfamiliar place.
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No, it's not dissatisfaction that inspires me to tinker with my songs, it's just restlessness.
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I write a lot more when I'm happy, because you're hopeful, you're motivated.
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Since I first picked up the violin, I've been very interested in tone and texture: I would have very visceral reactions to the texture of a snare drum or a pedal steel guitar or a violin.
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There's a lot of interesting words, nomenclatures, in science.
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A good espresso to me is a little bit salty; you just become used to a good taste. Anytime I go into a new place and they don't clean their machine properly or the water temperature isn't right, it tastes awful.