Yes. I try not to overdo it. I think it comes down to the people, and there are several people I take the time to talk with. Different types of friends. I also like the transportation time when I’m traveling, like on an airplane. Those times allow me to see things I was missing, when I was only looking at the outside. Perhaps I travel in seek of that.

I love reading diaries of artists and writers because it’s really hard to explain the creative life to the average person. People always ask me, “What do you do all day?” Your daily life can feel a little bit indulgent. When I read diaries and letters, I’m always struck by how banal it all is. It’s not about creating most of the time. It’s just about living. I find great comfort in those texts.

When young artists ask, “How can I get past these things?” I respond: “For one thing, try doing your very worst work. Do the worst song you can possibly think of. At the very least, you’ll get some idea of what your rules are. At the most, you’re going to get something that’s better than anything you’ve ever done because it has a lot of pure energy.” Just make it bad. Just make it really bad. You know, so pure and bad. I have tried that. That works well. Sometimes I clutch on that, too. I think, “No, that’s so bad it’s good.” Go on and on and get yourself twisted up into a language!

Just by not giving up, I guess. It was extremely difficult. Oh god, I’m hesitant to think what this interview’s gonna look like… I don’t wanna seem like the guy who’s always doing difficult things. But yes, I had writer’s block. It was massive. And I came out of the recording session for Melana Chasmata thinking this was the most difficult album I’ve ever done in my entire life. And I had already thought that after Celtic Frost’s Monotheist and after the first Triptykon album. But now I find myself in a situation where I’m working on the third Triptykon album, and I have exactly the same feeling. So maybe I’m just psychologically sick. I don’t know.