Improvisation has been with me since I was a kid, and, taking a selfish pleasure from that, I just thought, "What the hell. It might as well be something other people enjoy."

I just wanted to have some songs I could stand behind, and when I'm on stage just be loving it. People ask me why I did that and I think perhaps it's because Berlin is quite a gray place and I needed to sympathize with a bit of sunshine.

I'm always constantly battling with dry patches. I think I need a Plan B. Thankfully, I've always been able to pull something out of the bag in the heat of the moment.

I'm not the kind of guy who likes to rush things through. I like to take my time and finish when I'm finished.

All kinds of music comes out that I'm not prepared for. Some of it is good, some of it rubbish, but I kind of accept it all. That's the nature of stream-of-consciousness. You can't always come up with your most lucid material in the heat of the moment. I take that risk when I play live. I open up my mind, however fertile a creative springboard it is that evening.

I really wanted to maintain that bedroom philosophy to creating stuff. I don't believe the hype; I think a great record is because I put a lot of love into it. If people are feeling it, that's fantastic.

The layering of sound is by no means a two-dimensional process. Even though I've been doing it for a number of years, the diversity of it is so intriguing. It's a bit like traveling across the water. Though you may have done it time and time again it always hits you in a different way.