I was listening to this Ngozi Family record, 45,000 Volts, and it's mostly this guy singing, and then for the choruses, he's doubled. And it's not even harmonized, it's all the same note! And I'm like, "Oh, that sounds epic." I don't know, it's just one of those arbitrary taste things.

At the end of the day, for people in this position, you just need to make something that feels like you're expressing yourself honestly, something that you'd want to listen to. The rest of the aesthetic is kind of bullshit, and I don't mean that in a negative way - just that it's a choice.

A label is like a bank with all these really important relationships, and maybe an aesthetic or a point of view. But if you only want to release two songs, you don't need the guy who can talk to all the retailers, because they're not going to stock two songs.

I love Seattle, but I am definitely excited to be in a new place. Growing up there and then living in an apartment in the city for seven years, I just felt stagnant.

Every time you pick up an instrument, it's not always out of necessity - for a certain kind of person, it's a choice.

The lyrics to me are a result of the emotional and creative climate present while making the record as well as personally going through a sort of mid-twenties stock-taking.

Our vocal harmonies started to feel like a cop-out: all group-singing, all the time.