Every time I make a record, it's kind of like scarification or something. You work 15 hours until you're stupid. You're just kind of all jittery.

I don't like super-descriptive modern fiction. I like, "Here's what was happening in 1582 all over the planet." Then that gets my imagination going.

There's songs that could either be taken as a conversation between two people, like "The Privateers," or "Why," from a much earlier record. Or "Glass Figurine." That's my version of a relationship song.

I'm into lately being a little less precious about writing and being like, "Okay, what if I just locked myself in my room, pretend that there's someone outside with a gun that's saying, 'Don't come out until you write something.'"

I'm coming from a place that's more experimental and indulgent already, so for the last 10 years, it's been more like, "How can I defend my own sensibilities by writing a nugget of a little catchy pop song?" That's how I'm stretching myself, by writing something really simple.

There is something comforting about going into a practice room, putting your sheet music on a stand and playing Bach over and over again.

I just pay attention to what's in my head. That's my number-one rule.