I like the idea of working in an album-sized chunk, you know, and I never looked at Nine Inch Nails as a project that would be a hit-driven, single-based kind of thing.
I'm a lot less precious than I used to be about putting things out, for better or for worse. The result of a public that has a very high consumption rate and turnover rate is people listen to more music but spend less time with individual bits of music.
Nine Inch Nails is like building an army to go conquer. We build it, then we play, and we have to play so much to validate building it, financially. It leads to getting burn-out because a tour that would be fun if it lasted three weeks has to last 15 weeks.
I spent a long time experimenting, saying, 'Here's a record that's free, or $5 if you want a nice version or $250 if you'd like a really nice coffee-table thing.' Everything felt like the right thing to do at the time and then six months later would feel tired. And I would feel tired. So that's one reason for returning to a major label.