I wanted to make an album where every song is kind of interacting - where you can't tell what's the string arrangement and what's the song. I guess that came out of going to college, majoring in music, studying classical music, and even as a kid, being really drawn to classical music.

I did take guitar lessons as a teenager, though, and I started to teach myself how to play everything I could play on the guitar on piano, so I had a really weird, non-traditional route to proficiency. I think it probably helped me come at things from a new angle.

I wanted to make an album where every song is kind of interacting - where you can't tell what's the string arrangement and what's the song. I guess that came out of going to college, majoring in music, studying classical music, and even as a kid, being really drawn to classical music.

Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats. I was starting to learn the signifiers of production from the '60s, the '80s. We never re-recorded anything. All the record companies that wanted to sign us - except for one - were excited about the recordings that we had done ourselves.

As far as the lyrics go, I think I was negotiating a moment in my life where I didn't feel happy. I think I had some existential frustration and I was wrestling with that on a few different levels. I was feeling like I wanted to change a lot of things.

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 love working with Angel Deradoorian, she's a joy to work with. She's fab at singing and she has a real... she has an understanding that's both intellectual and emotional about singing, that I think that very few people have.