I love people like Kate Bush and Stevie Nicks and David Bowie - people that project themselves as characters and that contextualizes the music.

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.

The visual side of being a performer or in a band is, to me, as important as the music. I know not everyone shares that same opinion, but when I'm writing songs or working on lyrics or coming up with an idea, I think about videos as I'm in the studio. If I had all the money in the world, I would have the most amazing videos ever, you know? You're saying grandiose, and big; if the song warrants it, I try to push the visuals as far as I can.

I think every artist that you like, or even artists that have defined their own times, they're definitely looking to the past as a starting place. It's just about how you infuse your own personality, your own message, and your own ideas into it. The record is supposed to be really sensual and sexy.

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.

I love people like Kate Bush and Stevie Nicks and David Bowie - people that project themselves as characters and that contextualizes the music.

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.