I saw a lot of drugs and strange things when I was younger, but I also think it was a positive experience because I was surrounded by these really interesting, beautiful people that were trying to get their lives back on track.

I didn't want to make a record that's just drones or completely experimental. A lot of the time bands that make this psychedelic style of music are just a bunch of dudes hanging out together and jamming.

In the beginning I had a lot of self-imposed limitations as far as production and instrumentation. It was really inspiring for us at the time, because those limitations allowed us to push ourselves as songwriters and gave us a strong sound that people could recognize as ours, like wearing a leather jacket every day. A uniform. They know it's you - and that's great - but my original intention wasn't to be a shoegaze band or to be derivative of one sound.

If you have a lot of textural stuff happening in music you get called shoegaze, or whatever, and then it becomes about the sound and not about the songs.

I think that from the beginning of me making music, I always had it in my mind to combine things that I like to listen to in a way that I had never heard before.

There's nothing more fun than feeling frequencies and learning about equipment - everybody should do that. But if you're going to put your heart into an album and you want to give it to the world and add to the conversation, I think it's really important to take your time.

I'm very much into collaboration. I think that collaboration is the road to making something great. I respect artists that are more autocrats and are in control of their own projects, but it's not really my style. I've always had that partnership.