I certainly didn't predict people who spent years actively disliking the band to all of a sudden like the band. That's pretty funny to me, and it makes playing live kind of interesting, 'cos we're doing lots of things that don't really have a lot to do with that record, and even presenting the songs off that record in a way that's a little more muscular and without as much of the sheen, which is what I think part of what people really liked [about Kaputt].

I like putting common expressions next to uncommon expressions. I'm sure in Poetry 101 there is a name for it, but it seems like you usually go one way or the other in rock music.

I don't really listen to rock music anymore. But were I to write a song that sounded like it could be a rock song, I'd probably give it to the Pornographers, and I'd be excited to try to make it work.

I knew what real instruments I wanted and, in some cases, who I wanted to play them. I had started listening to a lot of ambient music and jazz and I wanted to incorporate stuff like that, too.

I used to struggle a little bit with the idea of how to separate singing from acting and entertaining.

It's actually really stereotypical that someone should be 40 and mellow out, but I think it's more about trying to conjure up a different intensity in my head, one where I'm more focused as a singer and hands-on with music and more exacting, and less trying to furiously fit a thousands thoughts into a four minute song.

I don't really know what's going on with the Pornographers - everyone's kind of doing their own stuff. I mean, they play shows here or there.