clean and sleek... and the clothing happens to work well with my body type. But beyond that, there is something about the sixties that felt very subversive. There is always a very clean shell on everything, but if you get a little deeper you realize that there was a very interesting and dark underbelly to things.

2. What is your writing process like? Do you start with lyrics, melodies, a particular instrument? How do you capture the moment?

With the bird and the bee, Greg and I will usually start at the piano, find a melody and chord progression. Then as he works on the track I will come up with the lyrics... When I'm working alone it's just me and a guitar. But it's usually me starting with a melody and then putting lyrics on later...

3. Is there a particular circumstance that stands out in your mind while you were making "All Rise" with Michael Andrews? How does he like to work and what did you like about it?

That was a great experience. It felt old fashioned in a way... we all spent a lot of time together. Tracking, breaking for lunch, which I usually would cook... it had a "band" feeling to it. I think we all had a wonderful experience. And Mike is such a genius... I learn so much from him.

4. How is the process different withThe Bird and The Bee sessions (genre aside)? What do you like about your collaboration with Greg Kurstin?

Greg and I work fast and super efficiently. It's just the two of us. And Greg, who is also a genius, plays everything so we can finish a song very quickly. I have never experienced anything like it. We can sometime write and record a song in a matter of 2 hours. I love our collaborations...

5. What was it like when you found out that a remix of The Bird and the Bee song "Fucking Boyfriend" topped the U.S. Hot Dance Club Play Chart in April of this year? Did you notice a significant change in your audience base? Has it changed the amount of pressure you feel about recording and writing?

It was really fun to have something climb the charts... but I have to admit, I don't think it changed anything for us. We come from a completely different world. With that said, I doubt any of our friends can say that they had a #1 hot dance club play... And I love that we can say that.

6. How has your approach to writing, recording and touring evolved since your first albums with the bands Lode and Merrick?

Well I hope that I'm better at both. I can't really put my finger on it, but I know that it's gotten easier...

7. How has growing up in the LA music scene encouraged/discouraged your aspirations? I've seen the resurgence of "Pay to Play" but also quite a bit of support from radio stations like KCRW and KXLU. Is there a real sense of community or is it "divide and conquer?"

I think it's what you make it. I think overall that good music gets heard... some more than others... but if you keep at it, you'll find your audience.

8. In light of recent events (ie announcements by Radiohead, Oasis and NIN that they are forgoing major label contracts and offering their music directly from their websites and the RIAA law suits regarding illegal downloads), what are your thoughts on the general state of the music business? Does this stuff affect you? Should it?

I think it's a scary time for some, and a really exciting time for others. Change is great... and it seems like it's going to be great for musicians. I think the reason that labels are in the position they are now is because it is so hard for them to change. There is so much resistance but to believe you can stop what's happening on the internet is foolish. So to embrace it, like Radiohead has, is the absolute smartest thing to do... well at least that what I think.

9. What are you listening to lately? Any old or new albums that are inspiring you?

I've been listening to some world music... Camaron del la isla (Flamenco Singer), France Gall, Gal Costa.

10. What are you working on right now? What's next for you?

About to start my next solo record. Mike is producing and Van Dyke Parks has orchestrated the whole thing... I'm super excited!