It was funny to just take a backseat and be like, 'Wow, I might be in this crazy place, but maybe I don't need to understand everything, maybe I don't need to be someone else.'

I just reached the point where I realised, I need to stop repeating myself if I'm ever actually going to enjoy the music I'm creating.

I put myself in the studio and I really made sure to say, 'Well, if I would normally reach for a trumpet, why don't I reach for the next nearest instrument instead?'

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.

If every element of the song doesn't come within the first hour of writing, then you're never going to get it - if that makes sense. It's kind of like you need to be in a mental state where everything is so reactionary that you don't double-think anything, and so if it's not immediate then it's probably not going to happen at all, and you should probably toss the song.

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

It's funny because you do often read in recounts of very famous albums, people tend to focus on mistakes in really positive ways, and there's certain mistakes of my own that I always do find on every record that I needed to accept. I find it really interesting to talk about. I always write songs at the wrong tempos, and I have to learn to accept that a little bit.