We’re all sort of alone in our heads, on our own little mountain tops and that it’s this idea of trying to grapple down the mountain and get to base camp or something like that.
With The People’s Key I was trying to use very dense language, sort of like triple coded, so you would have to run it through a machine to understand what the songs were about. With this one it’s more conversational, more emotionally direct. A little more human.
The way I feel about making a record is you shouldn’t over agonize everything. I’m sure you’ll get there eventually, but it doesn’t have to be painful the whole time.
I guess some people don’t like to mix emotions with music. I actually struggled whether to put ‘You Are Your Mother’s Child’ on the record or not because it’s more sentimental and nostalgic than a lot of the other songs, so I didn’t know if it would make sense. But at the end of the day I like that the record has a pretty wide breath of different emotions and feelings.
Being happy is something you have to work at and I’ve always found that for myself and I think the world has a lot of horror, you know, senselessness, violence and terrible things in the world, but you can either curl up into a ball or you can exit the stage or you can figure out a way to deal with it. And I think so much of it is what your outlook is, what you decide to focus on and what you place importance on. I try to keep it positive.