That's usually what happens with AC/DC: you make an album, and then you're on the road flat out. And the only time you ever get near a studio is generally after you've done a year of touring.
I love the whole process for each new album. The writing, the touring, everything. For me, it never gets old.
I wouldn't be surprised if this album cycle for 'Cardiology' is the funnest couple years we ever see. We've made all of our mistakes; we've kind of learned. Now we know what to avoid, we know what to embrace, we know how to take a deep breath and enjoy the moment.
I wanted to drop three albums in a year because no one had done it. It was bold, unheard of.
I don't want to have that thing where I make an album and then I'm super-constantly present in everyone's life for three years, and then gone for the next three.
There's no grace period between album one and album two.
The message from 'Analog Man' is that I'm back, and it won't be 20 years until the next album.
It used to be that labels would spend two or three or four albums developing a new artist before they threw in the towel and moved on, which kind of gave the artist an opportunity to grow.
I hate the whole 'record your album, do your promo campaign, have a year off to write another album' pattern. As an artist, you should keep creating as much as you possibly can.
I never wanted to do the mixtape circuit and 300,000 people hear it and that's a chapter of my life and when I do another album I'm coming off of that chapter but the whole world didn't hear that chapter so it's like I would have to start over.
You're just these kids from a small town. You get a record deal, and everything just goes so fast. In the span of five albums... in a way, the band that you started in your bedroom, or your basement or your garage, kind of becomes not your band anymore. It becomes something bigger than you could have known. No one really prepares you.
There's something insane about this business - about the cycle of making albums and going on tour to promote them.
I feel like every album we make, that's our debut album.
Whenever I'm done with an album cycle, I still wanna write music. If I'm bored when I'm at home, which never happens, my first instinct is to go to the piano and bang something out.
As long as the fans keep wanting to hear new records from us every few years, we'll keep making them.
When we came off the tour for the last album, we started on this one. We've just been chipping away at it. We're not in that much of a hurry, because when we release a Blur album, that's a three year promotion and touring cycle.
You can only release music so often. You have albums and the whole cycles and everything like that, so covers are a great way to release music and new things before the next album comes out.
In this business, things go in waves, and I might make a record every three years. That's enough for me; that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one.
In the '70s, you had to come up with an album every year whether you were ready or not.
I'm recording freely, and if I make a song, I release it immediately, so I'm more likely to believe in one song at a time as opposed to albums.
So we are not doing the traditional album, tour, album, tour, album, tour anymore. We're going to tour when we want to, regardless of whether we've got a record out.
It became apparent to me near the end of the album cycle for 'House Of Gold & Bones' that it had basically run its course. But the band kept pushing for more dates, and I was just, like, 'It's time to stop!'
I don't really take time off between records; it's a compulsion for me.
I don't like to think that I'm on a treadmill of album, tour, promotion and all that.
Each album has its own cycle. We wanted to capture all those feelings and moments for this touring cycle.
