I can't relate to the process of just disappearing and writing a record, all at the same time, followed by the sort of drudgery of going out on tour and trying to recreate the record, playing the same 12 songs every night.

Norman is a very up-close, personal, character drama and I'd like to do something more zoomed out, a little more pastoral, some sweeping epic. I'd like to try something different.

There's kind of this unequaled thrill of playing a half-finished song, it's kind of sense of slight embarrassment; like you're blushing. I like doing that. I did that with "Eyeoneye" and it was almost a curse on the song for a while; I debuted it when it was half-finished in a very public way

A good espresso to me is a little bit salty; you just become used to a good taste. Anytime I go into a new place and they don't clean their machine properly or the water temperature isn't right, it tastes awful.

I think any songwriter or record, no matter how good it is, can become tedious if it's the same person's point of view. After four tracks, you start to get worn down no matter how good it is. It can be relentlessly good, but it's still going to wear you out.

If you take a little time, let's say three weeks off, after recording a song, and you listen to it every other day, you're just going to know eventually.

I have some irrepressible pop impulses to write an appealing, concise song. And I also have some irrepressible kind of restlessness as well, and I need to keep myself interested. When I'm left to my own devices, there's a struggle.