People are like, 'What do you mean you don't listen to 115 different types of music?'. You can't just listen to The Smiths anymore. But then there are plenty of people that do only listen to five bands and six albums and that's it. My playlists are massively varied. There's never a theme throughout, it's never like everything is based in funk or based in reggae or whatever. It's 210BPM gabber-style techno and 40BPM reggae in the same list and it's like, yeah, they work.

It makes you feel really comfortable when someone is like, I'm not going to touch what you're doing. Do what you do and I'll put it out, but as opposed to sticking it out in Dublin and in one shop in London, it's going to go all over the world and you'll have the backing of a PR team and whatever else you need. It was like, cool, that sounds like the right move.

We get real picky about frequencies. Put it on a tape, start on tape, and it's kind of locked to how it sounds. Which would have been a very interesting thing to have done, but we were very aware that we wanted a bizarre kind of production value on the record.

People are like, 'What do you mean you don't listen to 115 different types of music?'. You can't just listen to The Smiths anymore. But then there are plenty of people that do only listen to five bands and six albums and that's it. My playlists are massively varied. There's never a theme throughout, it's never like everything is based in funk or based in reggae or whatever. It's 210BPM gabber-style techno and 40BPM reggae in the same list and it's like, yeah, they work.

Things flow better and everyone is in a better mood because they're like, 'I got my point across and it sounds like I want it to sound'

The production pushes and pulls you as much as the song does. It's almost more to do with the production value of how each bit was done as opposed to the actual track itself.

Humour is a big part of our lives as well as our music. Making it fun is the most important thing.