For a person as obsessed with music as I am, I always hear a song in the back of my head, all the time, and that usually is my own tune. I've done that all my life.
The reason I do interviews is because I'm protecting my songs.
I have always had a certain song in my head, a certain chemistry of sounds.
In 2008, I was more just thinking about using the touchscreen for writing the songs. From there I started thinking about how I visualised music.
There's so many songs about heartbreak that exist this in the world, because music is somehow the perfect medium to express something like this.
I'm not sure if it's because I'm older and I'm thinking about family more, but I'm trying to set up this thing where I can play in one city for a month, and then write music for a couple months, then play in another city for a month, write music for a month. Just so it's not these two schizophrenic, Jekyll and Hyde kind of things; you don't have to be this monster. You get inspired and you can go write one song from that, and then you go back and play a few shows. If I could've done that in the 90s, I would have.
I'm not as religious as some people about "the album." To be honest, that was a product of a format. You had vinyl, and you could fit five songs on each side, and that's 45 minutes. You had A-side songs and B-side songs; I always loved the first song on side B. And there's nothing wrong with that. Prog albums of the 70s adapted to that format very much. But not all musicians want to create 45 minutes of music that has to be listened to in chronological order.
When I write a song, I see a tunnel, and then the chorus is an open space, or the bassline is doing this shape. I see songs as a more of a geometric, spacial experience.
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