Now that that album's done [TModern Vampires of the City], I have time to revisit things that I was working on earlier, previous to it. I actually found it very helpful to be working on some music on my own.

My parents left Iran in 1979 and moved to France and then moved to the U.S. My brother was born in France and I was born in New York. I think my parents left France because they felt their kids would never be accepted by French culture. Here they thought we could feel American - that we could feel safe in that way - which was important to them, given what their experiences were in Iran. They used to joke about how I could be president because I was the only one born in America.

I had no problem working for 15 hours straight when I was producing someone else, but I couldn't do it with my own songs. It took that moment of pointing the camera at myself to realize that it was okay to get lost in making my own music. I think before that I was scared of pushing myself to the point of staring into the abyss.

I was lucky to have a guitar teacher who asked me what I wanted to learn. I brought in "High & Dry" by Radiohead and "Mr. Jones" by Counting Crows and he was like, "Alright, I'm gonna teach you these, but you're also gonna learn some stuff that I want you to learn." He taught me Jimi Hendrix and Eric Clapton, so I was getting the technical stuff and the fun stuff.

I feel connected to every song on this record [ 'Modern Vampires Of The City' ], but yeah I think there's something special about 'Young Lion'. It's pretty different from any song that we've had before because the vocals are kind of between two different very simple instrumental piano melodies and it's almost like something that we call a vignette, it's sort of like a miniature.

We thought there was also something that was humorous but at the same time powerful and deep about naming the album, 'Modern Vampires Of The City'.

I took one piano lesson and hated it and then didn't take any piano lessons until I was 18.