AVC: Some of your earlier records don’t have a whole lot of information on them, so it was difficult for fans to find out who was actually making the music. And you haven’t been big on doing a lot of interviews until more recently.
WO: I guess I don’t know where any information other than what I choose to provide on the records is really anybody’s business. That’s kinda it. I understand that doing interviews… Look, the record labels like that to happen, and I understand on some level why they like that to happen, because it provides some sort of eye-catching thing. It’s like some kind of advertising, for a minimum expenditure of energy and money. But to me, the best purpose of an interview would be to illuminate some things about how somebody works for the benefit of somebody else who wants to do those things. And that’s not where most interviews go at all, so to me, they seem like strange exercises in small talk and wasted air.
And printing credits… I think for those of us who make records, it’s our business how we put it together. Same with a book. You know, the publishing industry has somehow avoided having a light shone on their process. In a book, you basically have the name of the publisher and the name of the writer, and you’re led to believe that those are the two things that created this book. And you and I both know that’s not the case. There’s an army of people involved with the production of each book, most essentially the editor or editors who work closely with the writer on shaping and forming and developing a piece of work, plus the writer’s agent, blah blah blah. And yet somehow it doesn’t matter to us that all of that information is never publicly, readily available. Yet we want that on our records.