The group-effort sound in recording of Sea Lion is like, you really hear all the people in the room and hear them interlocking. Theres a real freight-train energy of all these people at the same time playing.

Music is pretty intimate stuff and I can only work with very few people: Gonzalez being one, Mocky being another and, on a completely different level, Broken Social Scene. With Broken Social Scene its not one-on-one, its a one-on-12. Its very healthy, very comfortable, like a big pot luck supper among old friends.

Surreal can be exciting and good, and it can be like living inside an alien landscape, and it can be completely interesting, or you can be alienated from your own life - inside your own life, it doesnt feel familiar any more.

So, I'm on Sesame Street, walking around with all these monsters, Elmo and his buddies, a whole bunch of chickens, a whole bunch of penguins and a number four dancing about. It was just pure joy, simple, ridiculous fun, stupid joy. There's no irony. Sesame Street is just a crazy great place to be.

I just went to Europe, spent a year traveling, and then I came home with a finished album and said, "Hey everyone I'm back!" I gave everyone their lighters from Luxembourg, gave them the postcards from Italy and Rome, then said, "Hey look, I made a record, too" and played it for them. The general reaction was shock, because it was so different from what they've known me to do.

I would try to pick the guitar up sometimes, like, "Hey, remember me?" It was like reintroducing yourself to someone who's got a grudge.

You can get anywhere on earth by falling asleep.