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 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 think a lot of people spend a lot of time talking about what they hate rather than what they love. I don't want to get trapped in that.

I enjoy working with people. That seems simplistic, but whenever I'm distressed, angry, and want to feel like something can be done about something, it feels better when you surround yourself with people.

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

My dissertation was on the idea of feminine-themed women's magazines, so like how the ideal woman is put across by women's magazines.

The idea was that the record itself ['The Bones Of What You Believe' ] is a kind of labour of love for us - all our energy and all our passion and all the stuff we believed in is in that record, so you're kind of handing that off to other people, if that makes sense.