I quite like being removed from the industry stuff so that when we're not on tour and we're writing, we're in a small room and you can't get out physically. I like that mental checking-out aspect - I think it's quite nice.

I like the idea of a record being more than one thing emotionally - human beings go through so many emotions in one day, and I like those things sitting next to each other.

I think in reading a few sentences of text you can just tell the tone, and that's something I love in prose writers.

I don't know Justin Bieber so I wouldn't want to marry a man I don't know.

A good song to one person could just be something mediocre to somebody else. It's always strange thinking about how songs connect with people.

I think I have a vested interest in thinking that the lyrics are important, but I think for us it's important that we all write things that mean something to us, and I think we're not really in the business of writing la-la-love-you chart pop songs. It needs to have a personal pulling in the gut for me, to want to write anything about it.

Everyone's [ me, Iain Cook and Martin Doherty] equally involved in all the writing. Normally we'll start with a sample or a drumbeat, or a synth sound or something like that, and that will spark the initial idea. And then we'll write an instrumental sketch of a song, and then we put on a nonsense vocal melody, which is always my favourite bit because it obviously sounds amazing.