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'm probably more into a more spacious, even meditative, quiet delivery of singing.

I knew what real instruments I wanted and, in some cases, who I wanted to play them. I had started listening to a lot of ambient music and jazz and I wanted to incorporate stuff like that, too.

I actually do see rock and roll as pop music. I think the distinction I was making was that I was going out of my way to have a very consistent approach to production, where nothing kind of punctures the reality - or, I guess, the fake reality - of the album and what you're listening to from beginning to end.

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.

When I'm on stage I don't say anything. The last thing I want to do is share my thoughts. I don't know if that's mysterious - maybe it's just old fashioned.

Most musicians don't write about being a musician cause most musicians aren't writers.