Do you ever take parts of your dreams and incorporate into your stage show or your compositions?
Yes absolutely, occasionally there will be like a part of a song or a line or an idea but usually like a strain of music that I completely end up using as something. I have nights where I know I just dreamed about the most beautiful piece of music that was ever written. I heard it and you are like I’ll never be able to do that, but the feeling of beholding absolute perfection; but never talked about this, there was this particular dream of perfection I had when I was 12 years old, and a lot of what I have done from then until now is to try to get to that feeling of perfection that I felt when I woke up that day (because I saw it), it was like seeing God and I want to feel that again and I want it to be mine.
Finishing things off a goal of yours is to appear in Japan, what type of things need to be set in stone before you can get over there?
It’s complicated and I think it has to do largely with having very serious and proper distribution of Fight like a Girl there because that album and everything thus forward in my career is based on my own label Asylum Emporium. I don’t have the backing of a system that is already in place so there is nothing preventing that from happening but it takes time and that is the only reason why I haven’t been able to be invited to Japan and perform there with. This thing that is just meant to be there. I am so ready and I know this is a place I am completely passionate about and the landscape and the culture and the tea and everything that is so much a part of my world. Everybody knows the obvious choice is Japan and China. I think it is has to do with getting properly distributed. It’s not enough there to be able to be like well ten million people downloaded this on ITunes, it has to actually physically be there. So that is something we are working on right now. So let’s just all manifest distribution in Japan and then we are moving there. That is what is happening.