Some kid can say, "Hey, I really want you to play my town in Switzerland, or Sweden, or Latvia," and they could have a fun night at the show. On the other hand, all those kids could have a record that means something to them in a more personal way a couple months down the road. The live band is a really important thing for us, but my focus is on the album now.

One of the 12 steps is to admit that you're powerless, but I think that's bullshit. I think it's important to empower yourself by facing the stuff that triggers you.

The idea is: You played to 100 people this week in Europe, and then next week you can play to 200. It's an investment in that territory. But it can lose money because it's very expensive to go to Europe. You can't really just say, like, "Oh, we're gonna take our van and drive to California tomorrow." It's more like, "Oh, we have to fly to London and rent three guitar amps, a bass amp, drums; buy all these flights for four people; hire a driver."

[YSL creative director] Hedi [Slimane] is a music-obsessed guy. I might've originally met him through Sky.

The touring band is DIIV, and the songs are always written with them in mind. But the new record is going to be more "me."

Three years between records is longer than average. Double albums are much more of a statement. I really wanted to put myself out there as much as I possibly could.

We were a commodity used by corporations to make their brand look fashionable, but then they used us to keep kids out of venues.