When a city is unstimulating, you get pretty isolated.

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.

I could probably spend the next five years reworking an album from ten years ago, if given the chance, to make it better - make it best, so to speak.

I'd been living out of a suitcase since I was 17 years old, and it just got to the point where it was ridiculous. Besides, it was really hurting everything I was trying to do in music; to feel so consistently homeless was no way to endure touring and stress.

My thought with harmonies and melodies in general, is that if it doesn't come right away then it's never going to come at all.

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