In a few other interviews, you mentioned that you achieved your dream sound with this album. What do you mean by that? I don’t know. Kevin totally kept to the sound I had in my head. I don’t even know where this obsession comes from. When I listen to records, I just listen to the drum sound first. I don’t know what it is—my sensitivity. I am really really obsessed with drums. But I am really bad [at drumming] myself, so I just needed someone to sculpt the sound, and Kevin was the person that fit. It is hard to explain the dream sound.
What were you listening to when you were writing? At the time I was listening to this band called Women and all the guys were listening to Spiritualized. I think I have been influenced by music, but also by art, or movies, or books, or whatever—even nature. I don’t know if you’ve seen this, but I just recently found out about this tree called the Eucalyptus rainbow tree. It is this tree that has this naturally milky colored bark, and it’s amazing.
Your first language is French, but you sing in English on the bulk of these songs. I have always been writing in English. It felt more natural as I listen to a lot of English bands and less French music, but recently I have been listening to a lot more [French artists]. I felt I wasn’t good enough to write. They are all amazing poets. You need to be really good when you write in French. Its not like English where you can sing less seriously. In French it sounds really serious really fast and I didn’t want that. I just started writing in French when I was in Perth. I just missed my language. My mumblings when I recorded my demo vocals were in French for the first time, and I was like, Oh cool, this song will be in French I guess. It was the first time, but now I tend to write in French more. I found the right balance. I write really simple lyrics, sometimes a bit childlike, but also a bit erotic. It is really new, so maybe next record it will be half-half.