I'm not that conscious of my writing, so pacing the lyrics doesn't really enter the picture.

I certainly didn't predict people who spent years actively disliking the band to all of a sudden like the band. That's pretty funny to me, and it makes playing live kind of interesting, 'cos we're doing lots of things that don't really have a lot to do with that record, and even presenting the songs off that record in a way that's a little more muscular and without as much of the sheen, which is what I think part of what people really liked [about Kaputt].

I don't banter with the audience, cause I don't have anything to say to them, and I'm not feeling any sense of ease or camaraderie when I'm on stage.

Really good musicians don't think of "self-reflection."

Big, evocative words get thrown around, and people can sing along to passionately as if the lyrics just materialized out of the ether, largely because they don't ever seem to coalesce into a writerly voice.

Kaputt was just a record that did really well for us, and therefore our record label and our booking agent said that we should go out and take our message to the world.

It's actually really stereotypical that someone should be 40 and mellow out, but I think it's more about trying to conjure up a different intensity in my head, one where I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.