I feel, in a way, on a record, you can be more subtle. In the live setting, everything gets amplified. The dynamics are more extreme in concert.

I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert. So I try to make a song where there is as much that is as distinct as I can get it, just if I'm playing it or if I'm singing it. That makes me really do a lot of stuff in the guitar work when I sit and try to figure out how to indicate what sort of dynamic I'm aiming for. Where, rhythmically, I want to go. That's sort of what ties a lot of different records together, is that it's usually always based around me singing and playing a guitar.

There's a lot of crappy music that people like, you know, all over the world, and Norway is definitely not an exception.

You know, I play in small, intimate venues; I'm not an arena performer.

I feel, in a way, on a record, you can be more subtle. In the live setting, everything gets amplified. The dynamics are more extreme in concert.

Sometimes, you can't seem to find any song on the radio that you like.

Sometimes you make a record that is what you want to hear. I've made a couple of those, idealized creations of what I wanted to hear. Then there are records that are what you feel.