I'd rather work with a grassroots organization than in politics. I'm not sure I'd be the best politician because I don't think I'm good about tactfully tiptoeing around questions in the right way.

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.

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 have a personal Twitter for band purposes, but I don't use social media a lot. I fall in a weird age gap. I was on band message boards when I was 16, but I was on the early curve of Facebook. I did it for work when I worked in media, and I did it for the band, but I can't relate to the idea that you live your life online.

I'd rather work with a grassroots organization than in politics. I'm not sure I'd be the best politician because I don't think I'm good about tactfully tiptoeing around questions in the right way.

I've definitely read interviews with people where they've explained exactly what they wrote something about and I've been like: "Oh no, I was thinking that was a really beautiful love song or a really sad thing."

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.