I'm abstaining from romance and the discussion of romance.

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.

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'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."

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.

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.

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.