The piano is not firewood -- yet.

[A]s soon as you try and take a song from your mind into piano and voice and into the real world, something gets lost and it's like a moment where, in that moment you forget how it was and it's this new way. And then when you make a record, even those ideas that you had, then those get all turned and changed. So in the end, I think, it just becomes it's own thing and really I think a song could be recorded a million different ways and so what my records are, it just happened like that, but it's not like, this is how I planned it from the very beginning because I have no idea, I can't remember.

I figured, 'If I ever get offered a chance to sign a deal, I'll only do it if I got to do it how I want.' So my contract is structured in such a way that I'm really protected.

I would really hate it if I could call up Kafka or Hemingway or Salinger and any question I could throw at them they would have an answer. That's the magic when you read or hear something wonderful - there's no one that has all the answers.

I think songwriters are more related to fiction writers. The Odyssey was a story in song. To me, that's so beautiful, all those painted characters, all those travels and adventures.

I have my own tastes and I have my my own... like, I dunno. I think it's really subjective; something that I think is a great song, is unlistenable to somebody else, which I've come to realise.

I don't really make records chronologically.