Music can be so manipulating - especially in terms of horror. It's such an important part of building the tension.

It's weird, in New York, it's like the big theme of everything is folk music and interacting with people. Maryland is where the landscape of our music comes from, it was more like, let's walk around. People are saying that we are part of some sort of folk scene. We don't feel connected with it. We do live in the city, and communicate with people. It's all folk music.

Things have changed. The suburbs are developed, but other parts, like where we recorded Spirit and Danse Manatee are still woodland and farmland.

In a lot of African music, the singers are just singing whatever they feel at the time - because the instrumentation is repetitive, they can come and go as they please. That's how we approach it. Not verse-chorus-verse.

I'm not against being proud of where you come from but I feel like sometimes the divisions are a little too bold and it hurts us more than it helps us.

Around the time I dropped out of college, I decided to start taking what I liked about short stories and apply it to writing songs - to make these things that would change and keep going.

I love electronic music as much as I love something that sounds like 'Pullhair Rubeye,' or something a little bit more organic than that.