Sea Change was so specific. From the beginning it was set what it was going to be. All the other ideas that I had at the time I had to put to the side.

As music becomes more computer-based, it's lost some emotional impact.

I'm the artist formally known as Beck. I have a genius wig. When I put that wig on, then the true genius emerges. I don't have enough hair to be a genius. I think you have to have hair going everywhere.

I remember you would record a guitar part, and we would have to sit there for 15 or 20 minutes waiting for the computer to process it. You'd see the little wheel spinning on the computer, and you'd be praying that the hard drive didn't crash and you didn't lose the performance.

My whole generation's mission is to kill the cliche...it's one of the reasons a lot of my generation are always on the fence about things. They're afraid to commit to anything for fear of seeming like a cliche. They're afraid to commit to their lives because they see so much of the world as a cliche.

It gets a little bit troublesome when you have something that's overcompressed that shouldn't be.

There are certain records from the 80s and early 90s that you love because the songs are great, but you don't go to them as an example of great production. Over the last 20 years, myself and a lot of other musicians my age have tried to discover things in 50s, 60s, and 70s recording techniques that were lost or discarded. We've all been trying to crack this code. It's been an important period in the last 15 years, reclaiming some of those lost approaches to making records.