Sure. Or I would say Alien vs. Predator. I like to compare my set to Alien vs. Predator because that movie should've been fucking awesome.

Anyway‚ the set right now is just sort of like a lawnmower that you turn on and just let it run loose until it runs out of gas. Intense from the very moment it starts until the very end of the set. And I don't want it to be that way. I want it to have some sort of arc. I want there to be sections where it's not like complete mayhem. I don't wanna lose those sections of complete mayhem; I just wanna compose the performance more so it's not as loud as possible all the time‚ as fast as possible. I guess a few years ago I would've thought that was stupid‚ but I think that it makes sense now. And then there'd be something to actually look at on the stage. Which will also make it easier. Like when I was just on the floor‚ I was like‚ well‚ I might as well do this as hard and fast as possible; let's just do it. And I think a lot of people and a lot of the press are going to go to the show and be like‚ well‚ before people used to be going crazy the whole fucking time‚ and now they're not‚ so they must not like it as much. I think that mentality is going to pop up quite a bit‚ but I'm ready to weather that storm of negativity.

Yeah. Well‚ I didn't know how large of an ensemble I'd be playing with‚ but when I was writing it I was like‚ I'm writing these parts to be played by humans. Some of them. Other parts‚ I was just like‚ I want to write this and let's see how it goes. But some of the pieces‚ like "Of the Mountains‚" which is one of the oldest pieces on there‚ I was like‚ let's make this piece completely playable by people. And it would be awesome to do this live with a bunch of people. Also‚ I'm gonna keep saying "ensemble" every time you say "band."

It varies from track to track. Sometimes I'll just sit down at my computer or sit down at my gear and improvise and see what comes out. And if I like it‚ then I'll start hashing something out and seeing what it can transition to‚ part to part‚ or if it's just a good thing on its own. But other times‚ an idea will pop into my head and I'll come home and try to realize the idea on the equipment and make it come into reality. But I wouldn't say there's a real plan. It's very much an exploding-out-of-me situation. I sound so pretentious‚ but‚ yeah‚ it's not like‚ I'm going to write this.

I mean‚ a song like "Mark Brown‚" I had it on my MySpace for a while‚ and it was on a 7-inch. I wrote that song while on tour‚ and I'd been writing a lot of material that was on Bromst. I was just like‚ I wanna write something simple and sort of stupid and just like an easy dance song. And that piece came out that way‚ and that was the plan. Another piece like‚ the Third Movement of "Ultimate Reality‚" I wanted to write something that's very much for percussion and electronics‚ and I wanted there to be a very long dense section of blast beats that lasts full minutes. And that was the idea behind that piece. So I guess it's a little of both.

I'm a terrible conductor. I would need to practice quite a bit if I were to conduct. Um‚ yeah‚ I mean‚ I never got into this thinking this is what I want to do for the next 40 years. But it's definitely what I want to do for like 10 or 15 years‚ but I don't always want to be playing this kind of music. It's fun to play it now‚ and I hope I'm still playing it in some degree‚ but I do want to do more varied things. I do want to start writing music for other people to perform‚ that I don't perform‚ like ensembles and various groups. I would obviously love to work with an orchestra. Very few people these days get to. I'd love to have as many musical experiences as possible and try as many different things. Who knows‚ maybe in three years I'll be like‚ oh‚ the large ensemble thing didn't work out; I'm going back to being solo. And in the future‚ in three years‚ hopefully we'll all be under one collective consciousness and we'll hear the music that everyone else thinks and there'll be no need for this kind of stuff.

[laughs] So with knowing some will just be shocked‚ is your goal to bring joy to your listener?

Yeah. I would say more to bring a sense of positivity and a sense of excitement about life and themselves. And I think the last record was to make people happy-it was sort of a party record. I wanted this to have the same sort of positive impact but have it not be just about that‚ to have it… I don't know. It's hard to describe without sounding like a complete pretentious dickhead. I wanted it to sound more like a celebration and less like a party. Does that make sense?

No‚ for sure. So how do you feel about people putting you in a leadership role of some sort of modern‚ pro-anything music movement?

[laughs] I think so‚ yeah. I think one of the key things is that you're making hipsters dance for the first time‚ which is a new thing. You seem to have this ability to take shame away from audiences. You acknowledge that? That your idea is to have no shame?

Yeah‚ or to have no inhibitions. To be without inhibition and just not worry about who's going to judge you for what you do. And blog culture has made that more difficult. When I first started‚ I'd try to do something and all these pammers [bullshit based bloggers] would come out‚ and I could see the person become embarrassed because of the presence of them. I feel like there's very few positivity-based blogs. A lot of blogs exist to expose flaws in others and are very much based in a sort of weird agenda that I don't understand‚ why someone would be excited to tear someone down. That just doesn't make sense to me.

Not all blogs are like that‚ obviously‚ but a lot of them are. And a lot of them label people without knowing anything about them‚ and I think that blog culture and digital music press and stuff like that feed off each other in this way where one blog can say something‚ and even if it's not a very large or influential blog‚ because of the way Google Blog Search is structured‚ it can be found and read by a ton of people very quickly‚ and then that enters into the sphere of consciousness and that becomes augmented and comes back again and again and again. I said in the Pitchfork interview that this album was going to be much darker‚ and I said it once‚ and all the sudden it became the album I was writing was going to be a dark album. And then all the sudden the record cover that I did not perceive to be spooky or evil is all the sudden spooky and evil and dark and all this shit. And it was like‚ where did this fucking come from? How did this happen over such a short period of time? It doesn't make any sense. But that's not your question. Yeah‚ that's cool; I'll accept any position of leadership.