I lived with my godmother and mother in New Zealand until I was seven. They were both Jungian psychologists and had a homeless shelter for street gang members in New Zealand.

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 lived with my godmother and mother in New Zealand until I was seven. They were both Jungian psychologists and had a homeless shelter for street gang members in New Zealand.

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.

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.

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.

It's really cool what you can do with a guitar and a Fender Twin and a space echo.