"This was another sonic influence on the record - the saxophone, the guitar. If you’re painting a picture it’s like 'What colours do you want?' Every instrument is a colour and with this we’re only using a few different colours. It's in how it sounds and how it feels to listen to, it's not necessarily about the actual instruments, it's about what it visually feels like. “Yoko’s record was produced by Phil Spector and on Oh My God the subject matter is a little absurd and it's fun to be sort of playful with it. Back to the cinematic thing, it exists in this big, bombastic universe and mimics the Phil Spector sound. “I just read the Jeff Tweedy book and I really related to him saying that basically his whole life and everything he does is essentially influenced by two different records. One's a record of just train sounds like cabooses, it's not music, it's just train sounds. The other one, I forgot, I think it's Johnny Cash or something. ""Yoko used the heartbeat of her unborn baby on a song she made with John Lennon and I really relate to that; I'm really into the atmosphere of songs and how everything in the world can be its own music. I saw a quote from Neko Case recently where she said 'When you're an artist and work for yourself, your job never ends!"

"Hustle & Flow showed me what could have happened to me. I hadn’t recognized that until I’d seen the movie completed; you never know what painting you’re making until the final stroke. And even then, it’s not finished until you put it into the frame. I didn’t understand the full impact of those individual strokes that we were making on a day to day basis until I saw [the film] — where A could have led me. I saw where A would end up at. And taking on B, C, and D… For a film to affect me that way, for a character to affect me that way, to where I feel worry and think about who Djay is… I still wonder about Shug and her baby. I still wonder about Key. Hustle & Flow also had music in it, which told some of that struggle. Remember, music used to be written for films, conveyed by the actors themselves. They knew when that music was played and they responded to it. Now, [merging a film to its music] is something that’s done as a separate act, and it’s more manipulative and not honest. Music in Hustle & Flow gave us another plane in which to relate everything to, and to play from. It widened the playing field; it brightened the road down the way, because you could move to that music, and be in step with the audience instead of the audience being manipulated into step with you."