Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.

One of the things I've really gotten past in the last couple of years is the idea of being made uncomfortable by the way things appear, rather than how things are. Clearly in this business you have to contend with a lot of that.

Nightly you retrace your steps again to return to the scene of the crime. It's uncanny how you hover in the air of the wreckage that you left behind.

What's interesting to me is drama and conflict. Things aren't interesting without conflict and resolution of conflict - or striving towards a resolutions of conflict.

But I can't confront the doubts I have. I can't admit that maybe the past was bad, and so, for the sake of momentum I'm condemning the future to death so it can match the past.

It's more important for me to have a good record with good music and be part of a movie that's good and where the music is used in a really great way. That's the important thing. The other stuff you want to say about it, I don't care.

I don't envy anybody trying to start a career right. There really is no music business left, in a lot of ways.