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.

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.

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 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.

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.

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