When we're back home, I feel pretty domesticated.
My music is a personal thing, and I feel like if I talk too much about the songs, or if there's too much of my personal life out there, it ruins it.
I do try to structure everything in a way that's very much like a pop song. I try to keep the arrangements really simple, just to make everything essential.
I definitely enjoy the kind of magic that happens being on stage with a group when everything's working. The vibe when that's happening gets even better if the audience is involved and you can feel that interaction. That's something you don't get with your headphones on in a studio; it's much different.
I was definitely the kid in the back of the class with his head down the whole time not wanting to speak up and say anything.
The beautiful thing about working with new instruments is that you sort of approach it with a fresh perspective.
I never want to make a complete, 180 reactional record. I wanted a connection to what I've done in the past but still move forward and evolve.
For some, being involved in a scene is a great thing because the social element can drive creativity. For me, though, it's never really been like that. It's the opposite. I've always had this instinct to escape.
I don't really write all that well with others.
I've always written pop songs. I tend to take inspiration from more experimental genres, like ambient music, but at the root of the song, it's verse-chorus-verse.
