I try not to say exactly what songs are about sometimes, because I feel like it ruins it for people.

I think a lot of things that people think are complimentary are a little bit condescending, but then we just have to keep doing what we're doing, and being in the band is the important bit.

If there's a strong melodic thing somewhere, whether that's in a vocal or in a guitar part or a sample. Something that sticks in your brain, that seems to be something that works.

No matter how many people try, no matter how many fancy songwriters in Los Angeles try to break it down to a formula... to an extent, there isn't a science to writing great songs, I suppose. For me, it's always about melody - it doesn't matter what genre of music you're writing, if there's a strong melodic thing somewhere, whether that's in a vocal or in a guitar part or a sample. Something that sticks in your brain, that seems to be something that works.

Writing with other people is the only way I ever really work. In some ways it's great because it's helpful to someone pull you out of the loop.

I love the hamster but I think if I took him on tour he might die.

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.