I'm never trying to be commercial or accessible, or saying "let's do this weird stuff, but at the same time we gotta do this safe stuff".

I'm usually way more pleased with the stuff that just kinda happens by accident and is no way a pop song. But sometimes the easiest thing for me to write is pop songs.

I just think that's more exciting. When people used to cut records live, there were mistakes all the time that stayed in. It was part of the charm. You're kind of missing something if everything is all doctored-up and clinical. So when we hear a mistake that sounds interesting, we make a point to keep it.

You definitely get more of a band feel to a song if you've been playing a song live a bunch.

My song titles have different reasons for the mistakes. "Don't You Evah," that's just the way that I've always said it, and I just thought it was funnier. "Yr." in "You Got Yr. Cherry Bomb", it's that punk-rock way of writing "your," like "Kill Yr. Idols." And "Rhthm And Soul" was just an actual typo that someone pointed out, and I just said, "Well, I guess that's the way it's gonna be."

It's hard being the guy that brings in a song, because you're very, you know, it can be something that you get too sensitive about.

Mostly, isolation allows me to go through a period where I really concentrate and get in a flow. Sometimes the whole process can be daunting, and when you're away from it, thinking about going back to it is especially daunting. If I go away for a week, I can be working on 10 songs at once, just jumping around to each one. I can get a month's worth of work done.