It was good on this record to kind of have Flood back on board and have Flood mixing the record -- that technology was good there, because Martin and I would get on Skype with him and he'd be in London mixing while we were in New York still recording. That's the only way we'd communicated with him! We did not spend any time in the studio with him. I think this record as well is the end of a trilogy of records that we're doing with Ben Hillier. He produced the last three records, including this one [and 2005's "Playing The Angel" and 2009's "Sounds of the Universe"], and this one, for me, got to where we were trying to go with the first one. "Sounds of the Universe" was certainly more landscape-y, more filmic, and I think this was more of a combination of the two elements there. It's very driven, it's very out front, and it still has some of those kinds of dreamy qualities to it as well.
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