The way that you present yourself visually totally dictates your audience and everything that anyone thinks about you.

My great fear is that I'm the ultimate shallow person. I think about this kind of thing a lot, and about this phenomenon in our culture where people identify themselves with their interests. I've been trying not to think about it too much. It used to really upset me when people called me "witch house."

I think Canadians make a lot of music because we're stuck inside all the time.

If you tell someone you're doing something innovative, they'll think you're doing something innovative.

You rarely find someone who sings really well and who produces really well; it's a problem, and I just think it's a missing link in the music scene.

I think a lot of music that's really innovative is not even considered because it was made by people who had a sexual image. And people assume that it's a commodified thing, so it can't be "indie."

The last thing I think about when I'm making music is its reception.

I think you can hear, when you listen to someone's music, whether or not they're enjoying making it - it's so great to hear music where you can tell the person making it was just having a blast. That's really important to me as far as my process goes. That's probably why my music ends up being so poppy!

One thing with Montreal is it's so cold and everyone's so poor and beer's so cheap: if you go to a show you have to brave the weather to get there. So you show up and everyone's soaking wet - there's a sense of 'I trekked through three feet of snow to get here!' I think there's a kind of camaraderie that arises out of that, that's important to me as well.