Even if I wrote a song about math or animals or whatever, there would still be the question, 'Why did you write about that? And what does it say about you?'

I've never felt at home in Kortedala, or in Gothenburg, so I always felt like I needed to go somewhere and find some kind of perspective on things.

I would love to hear Marilyn Manson's fans or something, what their stories would be like.

For me, it's sort of like a cultural democracy or musical socialism to take a stand and get out of the major cities if you can.

You always try different versions of yourself through songwriting. It can get a bit annoying to see them walk around and do their thing when you feel like, 'I'm not that person any more.'

I find it quite hard to connect with the songs where I portray myself as this clumsy, adorable, love-struck man-child.

I feel like the few times in my life when I really felt like I love my own story is when I've been the happiest.

This is one of the reasons I'm so interested in stories. Because everyone has a story in their life, and when their story doesn't make sense, that's when we get depressed, I think.

If you come to the conclusion that there is no conclusion, well, that's a conclusion, too.

I was in my early 30s, and I longed for real friendships and real relationships, and I started asking myself why I didn't have that. I had a couple of male friends, but every time I would hang out with them, it felt like there was something keeping us apart.

I actually have all these tapes, from when I was five, from when I was 10, and from when I was 15, that don't really have to do anything with each other, but they're sort of archeological in my musical history.

I started running to different albums, and I was starting with the short albums and moving on to the longer albums. I was interested in how they built up, in tempo and intensity. it made me interested in albums again, too.

My songs don't deal with locations that specifically, even if there are very specific references to them in there; they're sort of just where stories happen, not the stories themselves.

Every wedding is slightly different from the other. But you always get to meet the funny uncle and the weirdo relatives, and there's always someone trying to beat you up for not playing enough Beatles songs or something.

I struggled with a lot of doubts around my songwriting and around what I was and what my purpose and mission were.

I think all the best songs do that: they offer some sort of hope and light in the darkness.

My aim is for every song to have a purpose - for you to be able to say, 'This song is about this.' But love and heartbreak are some of the most abstract subjects.

Making albums is a very lonely process sometimes. Sitting around working on songs, feeling the pressure.

Contemporary Swedish artists that chose Swedish as their language tended to sing about certain topics and use words I wanted to avoid.

My first single was based around the mishearing of the words 'make believe' - 'I thought she said maple leaves.' That kind of stuff is very central to my music and my life.

I grew up in the '90s and remember the lyrics back then were so abstract and open to interpretation. That always drove me crazy.

Goteborg used to be a not very cool place to live. The culture centered around shrimp and bingo. Bands played Copenhagen and Stockholm and skipped Goteborg.

I have a very nice voice.

I realize that 'Postcards' was like input, and 'Ghostwriting' was output. I had all these frustrations and feelings before I did those two projects. 'Postcards' was something that brought new life and creative inspiration into the record, while 'Ghostwriting' was relieving myself.