WEYES BLOOD

I love essential oils - there's one for every problem. It's kind of like nature's answers for what to put on your skin. I had acne when I was a teenager, and I did a pretty intense tea tree thing. You dilute it in a base oil, like carrot seed oil, which is good because it gives your face a little glow.

Absurdity is my favorite brand of humor because deep down inside, in our subconscious, it's all surrealism. It's all abstract. The world is the surrealism, the absurdity, the humor - it all just overlaps.

Lamantia is faith building, encouraging poetry in that it abstractly hugs you by finally capturing the inexpressible. It's an experience similar to relief, reading his poems.

As a teenager, I really loved Catherine Ribeiro - extremely powerful, wild, improvisatory voice. I loved old psych-rock bands, and Michael Hurley, and Harry Nilsson. And then later on I discovered the famous European singer Demis Roussos, who used to be in Aphrodite's Child.

Baltimore is wonderful. Super-weird city.

There's nothing wrong with the feminine, there's nothing wrong with being vulnerable.

I'm always thinking about the bigger picture and always feeling so much for everybody else, and kind of experiencing the pain of the world, personally.

As we become more codependent with technology, it's not necessarily based on our desire for the technology but our desire for interconnectivity and wanting to stay connected, which is a natural human instinct. The technology itself is kind of emotionally manipulative.

The concept of 'Bad Magic' is something that is incredibly intoxicating and magical but ultimately bad for you.

I think technology and smartphones created a huge paradigm shift that we can't fully comprehend, and I think in a lot of ways things are changing faster than we can really process.

It's important to me to not stay too confined to any specific sonic space. There is something really magical about straight folk music - it's not that I don't like it, it's just that I like so much music, I hear so many different things, and I want to try more. I don't want to be confined.

Good singing is learning how to transmit learning musical information with your voice in a way that everybody can relate to. But as a woman you just get a lot of criticism because everyone sees you like a raw lump of clay that needs some help.

I'm grateful that I didn't get thrown into the limelight at 19-years-old.

I was always interested in the fringes of culture and society and in expressing myself in a distinctively different way, like always rooting for the underdog, that kind of thing.

I want to help people and change the world.

The most restorative activity is to get out in nature where the air quality is a little nicer.

I love touring; if it were up to me I'd be touring all the time.

In my mind, my music feels so big, a true production.

It's important to me to create archetypes of human experiences and make them so that the song has a sense of purpose when you experience those emotions. You know, just making people feel like they're not alone.

I like writing in total isolation like out in the woods somewhere.

We all need a little something to believe in.

I have a lot of respect for people who really work on their life - they've got this great apartment and a good personality, they write the thank-you cards and bake birthday cakes. That's who I wish I was. When I see people cultivate their own life like that, I admire it.

I've always been on the periphery.

I've always tried to create music the way Kubrick makes film, just kind of mimicking consciousness. He has a way of mimicking this greater power.

Water represents to me, the beginnings of life, it is where we come from in our most primordial sense. It relates to some of our deepest subconscious thinking - it's a force we can't really see or understand, we just get glimpses of. But it's a part of us all.