I can't work in Brooklyn. Unless I'm completely locked away in a studio, there's just too much distraction and stimulation.

I feel like I've met most people I look up to musically. I just want to meet Chef.

I mean the reason that I started writing close to home, "Santa Fe," et cetera, was a kind of looking back on past events. I don't know, it's just some of the dark spaces I've been. And it feels like with a music career and whatnot, I've been able to crawl out of those places. So it's interesting to look back on them and try to hold on to the feeling of what you went through.

The more I know, the more I realise I don't know. And the more I realise I'll never truly understand.

Raucous drunken trumpets and instrumentation tend to guide the way you think. They can give you a path to follow lyrically.

I think I spent more time on the mellotron than on any other instrument in the studio, and it got to the point where I was like, "Well, you can't write an entire album on this instrument." But maybe I would!

It's a weird thing to be nineteen and be in the public eye. It was a crazy thing, it was a big deal to me, and it changed me in a lot of ways. And now that it's five, six years later, I wanted to look back at that, the start of it all, the excitement and the naïveté about it, and it just fascinated me to reflect on all that.