A lot of people question my image and why I do what I do, and the answer is because this is how I want to present myself.
I try to imagine how we would live if we didn't know we were going to die. Would we live our lives differently? Less careful, maybe? Less scared? These are beautiful things to think about and build a song around.
Suffering for your art is most definitely overrated but I do get a certain, I don't know, satisfaction from being able to deal with my paranoia and insecurity.
The blackness of darkness, forever.
Let's get one thing straight: there's no such thing as the Bristol sound.
I think that after a year of Portishead I've become a little more sober.
Most of the lyrics are over a year old, and it doesn't feel like it's about me. Time created a distance.
I've had a wordless phase, and that's still not entirely over: what I sing is not always literally meant that way, and you can hear that in the way it is sung.
I am a very sensitive person, very impulsive and emotional.
I thought I had a clear picture of death, but now I know it's a mystery and it will always be a mystery, although it is something we all have in common: everybody knows that life ends with death.
I've just put my heart and soul in a song and need at least a week to recover.
You feel the music needs something but you don't know what. So you start searching, fitting, measuring, trying. Every time you try another angle. And sometimes that's frustrating, especially if you don't come up with something for three days.
The music comes first. When Geoff has made something the inspiration comes automatically. His music is very expressive. But still is is a very difficult process: I have to add something to his music, not push it away. It has to be equal, and I find that very difficult.
There's not only emotion in the way you sing but also in what you sing. That way I can compensate it.
My voice adapts itself to the music. I can do a lot more than you hear in Portishead.
