 If I found myself in some kind of cul-de-sac in the music, I'd break down the problem by actually painting it. I'd try and visualize what the problem was, that the sense of these textures were grating against each other in a way that wasn't admirable. And I'd try and visualize those textures and paint them and then find out what was wrong. And then when I'd solve that problem, I'd take it back into the studio. I'd never really compartmentalized things, everything for me is just this flax of doing stuff, some of its music and some of its visual. And the two have always been very entwined.