Instead of just looking back, whiplash-style, I can assume there's something else coming. Time just folds over itself, like origami.

I don't want to take photographs that I won't recognize as myself, and myself isn't necessarily just blankly staring at the lens.

The group-effort sound in recording of Sea Lion is like, you really hear all the people in the room and hear them interlocking. Theres a real freight-train energy of all these people at the same time playing.

I've always been a bit wary of keyboards because there's an invisibility to it - you're not really hitting anything.

There's real potency in metal. Metal fans love metal as if it's a nation they would fight for. It's not diluted by pop culture.

Music is pretty intimate stuff and I can only work with very few people: Gonzalez being one, Mocky being another and, on a completely different level, Broken Social Scene. With Broken Social Scene its not one-on-one, its a one-on-12. Its very healthy, very comfortable, like a big pot luck supper among old friends.

I'm in the countryside outside of Paris, in a beautiful old manor house. The studio is in the basement, but we decided to set everything up in the old parlor and dining-room area so we can look at each other and (at) the sunshine coming through the stained-glass windows. It's pretty idyllic, and I think it's spoiling me. I'll have to go back to regular life after this.