All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.

In a way, to have whatever people talk about as "crossover success," I think it means you start making bad music. I mean, when I'm flipping through the channels and see the VMAs or something, I don't really see any music there.

I believe that vinyl will outlast CDs. There's no reason for it, but it stays around because there are still people that want them.

Each Desaparecidos's song has a seed that it came from. We're trying to take that and broaden it out and make it resonate with people.

You can't manufacture inspiration, so a lot of it is still a waiting game for me. There's still a lot of mystery to songwriting. I don't have a method that I can go back to - they either come or they don't.

We [Desaparecidos] have to make the message and the music and the packaging as appealing as possible - as Taco Bell as possible: mediocre and no one can be offended by it and everyone can sort of enjoy it and we can play it on the radio.

To me, a political song is also a personal song. Most political activism has been driven by empathy for other people and the desire for a world that's less divisive. Even if songs aren't overtly political, they can make a listener more empathetic.