Rostam Batmanglij

I think that all music is inherently political, and, at the same time, I'm interested in the politics of inclusion not exclusion. So I think that my goal is to make music that anybody can hear and feel moved by.

When an old tape machine makes pitch wobble, some people would say that compromises fidelity and would try to get rid of it. But to me that wobble adds richness, it instantly brings back the feelings you associate with old recordings.

I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.

I feel like I've had this ability to infiltrate, as an outsider and an insider, different groups.

Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats.

A lot of what being a producer is, is giving people space. Like psychologically being there to help them realize what they're trying to do.

I always felt more connected with people who are proud of who they are.

I figured out that it was important for me to have my identity, just live independently and like being myself, musically.

Some of the journalists who've ended up writing about our band - and this is disappointing to say - have a very narrow outlook. And because of that they fundamentally misunderstand us.

A lot of people get a high from being onstage. I found ways to enjoy it. But I get it from being in the studio.

In some ways, the more that I write songs, the more I feel that telling a story is the most important thing; just being able to close your eyes when you hear some lyrics and go somewhere.

I admire Brian Eno so much in how he seems to push the idea of less being more - his touch is to crack open a window and let the light in.