It's just what I do basically. You never want to repeat the same song; that's one thing. Although, obviously some lyrical and musical motifs keep cropping up from time to time- I keep cross-referencing my songs.

Red Brocade was the 3rd album of the Bible Belt/Texas trilogy in some ways; and, the new album will be different yet again. The new album is going to be my idea of a cross between Let it Bleed and Electric Warrior. The trouble is I haven't made an album for 4 years now, which is incredibly frustrating- I've got a short list of about 60 or 70 songs. There probably won't be any Bouzouki on the new album, but there should be a bit of Balalaika...Basically I'm doing the same thing that I've always done. It just comes out in different ways.

How does age change your pop-primal ideal?

Not in the least. It's nothing I've ever consciously thought about; though, as Keith Richards once said with reference to the Stones- which I think also applies to myself- "My music is like wine: it gets better with age."

Would it be fair to say that the re-issue program - well, do you see it something nostalgic or non-nostalgic? And how did the deal come about?

I've never seen what I do as nostaglic. I've wanted to do the re-issues for some time and when Secretly Canadian came up with a proposal, they seemed to have the right idea and that's basically why I went with them. I never like to put out albums that look or sound shoddy or cheap. Secretly Canadian allowed me to produce the albums in the way that I wanted to.

What do you make of 80s nostalgia at large and what role did you play inits original version (how did you feel living that decade alone with just your mournful songs and the occasional contribution from Rowland Howard and Dave Kusworth)?

I didn't know there was any 80s nostalgia, really. I never think of my songs as being particularly mournful, more atmospheric, if anything.

Did they - the two other guys - ever feel - or express to you - a lording over factor/concern - are you a bossy co-mate?

With Kusworth, I'm put in a position of having to be the organiser. If you met Kusworth, you'd know what I mean. He's still my favorite guitar player and he'll be on a couple of tracks on my new album. Once of these days, we will be doing a new Jacobites album for my sins.

What were the ups and downsides of 1987's TEXAS and Dead Men - both LP's, though so radically different, seem a perfect centerpoint to having left Swell Maps, finding an intimate musical groove and creating a personal lyricism that's frightening sad without being loathesome and self-pitying.

They just turned out the way they did.

How do you see your lyrical growth from the 80s - the above mentioned thing - to the present (and are words an arbitrary state, since having seen you live, i know you change phrases and text to suit mood)?

Yes, I agree.

What best signifies a Nikki Sudden sound now (perhaps as it was borrowed from the decade of the 80s?

My music sounds like I look and I'm more into the 70s than the 80s.

Tell me please the first things that come to your mind where these songs are concerned

"When I Left You"

The piano in Bochum Zeche, becaue that's where I wrote it.

"Chelsea Embankment"

Cheyne Walk, one of the places I'd love to live.

"All The Gold"

Paris, 1981

"Sailors Of The Highway"

When I first heard the song on John Peel's Sound of the 70s show.