Michael Smith, Journalist

“We are obviously emotion-driven and the songs have to be a complete story from the emotions that the music brings out in the listener, and we really try to match that together with the lyrics."

“I’m sticking to the original [demo] ideas very closely and being very focused and thorough with each part, just making sure I nail each part."

“The third record was kind of meant to be – I had to get it out of my system and it was very cathartic."

“In building on the previous EP [Cards On The Table], which was stripped back and acoustic, I’d been writing these songs and felt it would be nice to build on the sound, incorporate the band aspect but still keep the core acoustic.”

"It was a brain injury, but I somehow, as stupid as it sounds, knew it would get better, and then after a few weeks I started playing guitar, scales and that… You know, I couldn’t even hold a fork to feed myself."

“In the music industry sense, I kind of own ANZAC Day like Mark Seymour owns Grand Final Day. People ring me up from all over the country asking me to perform on ANZAC Day, and I just wish there were a hundred of me.”

“To spread our live show round the world was just the logical progression for us, and we’re still working to perfect it."

"There are some songs that are more interchangeable than others, but you’ve got to have Kashmir, you’ve obviously got to have Whole Lotta Love… Stairway To Heaven is the only one I’d like to get rid of."

The final poem’s a bit scary though, so be prepared to mind-screen Alien!

It’s not an age thing – look at Buddy Guy. It’s just that the result is a nice rather than an essential album.

“In the early Ultravox days, we kind of had to invent how we performed live with the technology."