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.

I can see that in retrospect but I guess I've always had such an identity crisis when it comes to other people's understanding of me.

The most important thing for me - and the thing I get frustrated about when I don't achieve it - is momentum. Sometimes you hit on it quite naturally and other times it's a mad struggle.

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 stopped going out and taking pills and I started hanging out and learning about flat eleven chords.

I just throw myself into a mad frenzy, whip up a storm and see what comes through.