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

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.

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.

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.

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

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.