Sometimes I just think we're not meant to fly halfway around the world in a day. That some kind of mutation is going to happen.

Most of the songs that I appreciate are lyrically vague.

I really like the sound of analog things where clearly there's something being touched. You can sense that something is handmade. So much with digital, there's a disconnect.

I don't get particularly precious about things like this, though. Like the record company said, "We need a radio edit that delivers the hook" - I don't even know what they consider the hook in that song ["Oh No"] - "that delivers the hook sooner." So I'm like, "Okay. I see that." And they were all walking on eggshells, like is this going to be sacrilegious to me or something, to mess with this art I've created? And I'm like, "Great. I get to tinker with it, I get to mess with my song some more."

Most records, you build from the drums and bass up. This one, we started with the vocals in Nashville and recorded them live with just the guitars and tried to make that complete and lovely-sounding without any adornment at all. I really wanted to get something with the vocal that I've never gotten before Armchair Apocrypha.

There's always that struggle between me wanting to keep [song] new and fresh and then be - I can never get with pop songs being so repetitive.

Sometimes I just think we're not meant to fly halfway around the world in a day. That some kind of mutation is going to happen.