"To me there's no point in repeating myself. I'm not trying to be Metallica here, or Wings, or Search. To gather old fans and play the old songs. I don't really mind it. I need to progress. As a composer, as an artist I really need to try new things. There's always a stigma with Butterfingers. I've accepted it. That's why I don't do 'Butterfingers X' or 'Real Butterfingers'. monoloQue is a different entity entirely. Even though my element will always be 'Butters'. The sound is me, I'm 'Butters'. No matter how you take me out of the equation. Apart from the songs and the sound, it's me, Emmett, Kadak and Loko. So when you say Butterfingers, it has to be all of us because people want to hear Emmett, they want to hear Kadak's sound, and Loko. Up until "Malayneum" (2001) the Butterfingers thing was going smoothly; up to "Selamat Tinggal Dunia" (2005), it had already gone into a writer's block phase for me. And I don't know how I came up with those songs. That's what makes the album special to me. 'Butters' will always be inside me, I started it all and it's my baby. So when fans cannot accept things as they have gone now, I just feel they need to move on as well. They cannot be selfish to ask me to play Butterfingers again. It's not because I don't want to because of monoloQue, I did monoloQue because I already made an oath to myself – I'd rather sell 10 records loving what I'm playing than selling 100,000 copies and waiting before, with limitations and obligations towards other people. I don't think I'll be doing scoring if I had stuck with Butterfingers, all the opportunities I can tell you came from my ideas with monoloQue. Thankfully, I'm happier now and can put food on the table with monoloQue."