Why does Homeland have more electronic grooves and more improvisation than your earlier works?
If it’s too highly programmed, it’s no fun to play. You’re doing the same thing every night. I built this music on the road through collaborations with all kinds of musicians: rockers, the downtown avant-garde, electro-pop people. I also became mesmerized by Tuvan throat singers. It’s like listening to someone whose head is a radio tuned to nine stations at once. Homeland has a lot of odd beats, and my big challenge is showing the musicians where the downbeat is. If they don’t feel it in the same place, we’re dead.
You and Lou are a quintessential New York couple. How connected do you feel to the city?
I love this city. I’ve lived in so many different New Yorks. Now I’m living in a Minneapolis-style New York in Tribeca, with all kinds of people and a Whole Foods. They’re planting trees outside my window as we speak, where a burned-out warehouse used to be. I don’t feel nostalgic for the old New York, although I enjoyed it. There’s always something interesting going on, and lots of great musicians and artists and people who are ambitious but also help each other. The sentiment is, “We hope you succeed, because that will make the place more interesting.”
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