It's a very different feeling just sitting around the side, playing piano, and dancing around as opposed to standing in front and singing.

One of our very favorite shows of 2008 was our Slowtrain instore. We drove straight from San Francisco, pulled up to the back of the store, dragged our entire setup inside and played our new album, Rook, start-to-finish - and they let us get away with it.

When you make a record, you probably are not going to hit exactly what you were aiming for. You also have to let go at a certain point, and just trust it.

Being like stranded without a label in the middle of tour was very strange. On the other hand it made us move instantly. I mean, I didn't wallow. I was like, Alright, who can we email? Let's just start putting stuff out. I felt like we were playing really well and it was at least worth a shot.

I still get stage fright every time. I also feel very, very sleepy about a minute before we go on. Like I feel like I'm going to fall asleep. I can't explain it. It's sort of like, Where's the energy going to come from to play this show? Then all of a sudden you step up and there it is, it's like it's waiting for you.

The thing is that honestly we haven't had an audience. And we have a chance to have an audience now. Which is great because I think we've sort of evolved as a band to the point where I think we might actually be interesting to go see.

I felt like the last record was a real step forward for us. I was very pleased to see some people saying the same things - that it was a real departure, that it was much more individual, that it sort of a power of its own. I really did feel those things very strongly, it's our most realized record.

The nice thing about being a band that nobody knows about is that you can do whatever you want, you know? Without catching hell for it. That's sort of how we felt about the re-recording, too. I thought, Well, you know a few people noticed this record the first time around but not so many will really protest if we do it again.

It may be a product of me being raised in episcopal church, but I have a love for ritual and theater and the significance of doing the exact same thing over and over. So I really love knowing every little thing I'm going to do during a show.

When I was writing some of songs for the record in Galapagos it was the feeling of being there I wanted to evoke more than anything. I remember hearing all the parts of the songs in my mind when I was walking around over the lava fields.

It's not like I'm narrating stories with music behind them. It's all kind of one thing. You hope you can provoke a specific emotional reaction, but in ways that aren't quite plain.