If you come at the record feeling really happy and optimistic, it can be incredibly beautiful and uplifting, and if you come at it in a bleak moment, it can feel like a very dark place to share. It's all down to the listener.

When I'm writing for rappers it's kinda like switching, "Okay, you're not PJ. Now you have to act like a rapper."

I was really influenced by a lot of Disney soundtracks, because that's what I used to watch all the time, and they always put music in it, which is why I tend to have popular melodies over harder beats.

I work on words quite separately to music. They're both ongoing, and I don't ever feel like I'm working in a cycle in that respect, because it's every day anyway, no matter what I'm doing. Then I get to a point when I've collected together enough words that seem like they want to be songs rather than poems, or sometimes not.

I grab an instrument to make my body a song, but I'm not a player as such, maybe a little more on guitar, but certainly not piano.

The artists that I love- whether painters or filmmakers- it's because something resonates in me because I've felt it.

I was like just writing and writing and then I kinda developed my sound. And then, my managers were like, "Okay, we're gonna try to get a deal." And then first it was Interscope, and then it was Atlantic. And then, I ended up signing with Atlantic, but it was like a long process, a really long... it was A LONG PROCESS. I feel like it took me two years to do it.