We're still a couple of weeks away from Robert Plant's new album, but he's already in full promotional swing. And if a new interview with the Independent is any indication, 'lullaby ... And the Ceaseless Roar' may be his final album ... and maybe even final everything.

"Maybe this new album is the end now for me,” he says near the end of the interview. When the writer asks for details, Plant tells him, “Of this musical wanderlust and the wonderful carousel that I’ve been on. It’s like a kaleidoscope: you hold it up to the light, rotate it, and the pieces fall beautifully in different ways, but this record feels different. It’s a consummation of all those bits from Son House to Roni Size to the Gambia and it seems to have some sort of finality.”

Either way, Plant has some other things to take care of first -- like his great new album, which comes out on Sept. 9. And a brief North American tour, which kicks off in about a month.

'lullaby ... And the Ceaseless Roar' marks Plant's first album with mostly original material since 2005's 'Might ReArranger.' His last two albums -- 2007's Grammy-winning collaboration with Alison Krauss, 'Raising Sand,' and 2010's 'Band of Joy' -- were made up of cover songs.

While the new LP, Plant's 10th as a solo artist, follows a similar stylistic path of its two predecessors, there's a bit more edge to the music, which incorporates everything from world rhythms to electronic beats.

Meanwhile, as Jimmy Page remasters another batch of Led Zeppelin classics for reissue on Oct. 28, Plant seems content to put his old band behind him. He's shown little interest in a Zep reunion, and points out in the Independent interview that “Jimmy’s the fulcrum and the curator” of the group's catalog.

Still, he notes there are "a few magic moments that hit home" -- like Ann and Nancy Wilson's gospel-choir take on 'Stairway to Heaven' at the Kennedy Center Honors two years ago. “After all the years of hearing the song misinterpreted and played backwards and all of that nonsense," he said, "I never thought someone would tap me on the shoulder and say, ‘And by the way, that was a lovely piece – and to prove it here’s another way of looking at it.’”