Nokia

Still Come Around is a song about carefree nights of carrying on in the city, the whirlwind dizziness of romance, but also of trepidation . . . The chorus line with its big ringing open chords is our Tom Petty homage.

Want Everything is an ode to impatience! It was a work in progress for a long time, going through many evolutions, but with Mitchell we hope it's reached its best self. Finding the balance of urgency and subtlety was the key.

Settle Down. When brilliant and temperamental energies are housed in the one body it can make for a bright burning fire that can easily get out of control. Anyone who's been close to that will know it's a privilege and a strain. This is my pledge of support and friendship, no matter the drama.

Never Knew is a feel good song about sad things: letting go, giving in, maybe even enjoying the blues. We wanted a very natural, ambling feel, intimate and unpolished.

Teeth is a tongue-in-cheek jab at the man eater and the man-eaten. Mitchell and (engineer) Dave Boucher had a blast creating the backwards swirling tape delay. We really enjoy this one live: the sharp guitars and driving energy are big and fun and LOUD.

Let You (W)in is a bittersweet parting missive. We wanted its roots in a Crowded House type of groove and Mitchell is the man who helped craft that sound. The watery sliding guitar part really backs the resignation of the lyrics.

Running Away. Commitment-phobes everywhere unite! One of my favourite story songs to sing: the album's central character does a lot of hightailing on her way to meeting the right one. Does she ever get there? Not in this song.

Lonely Moon. We had a blast doing the backing vocals with Tracy Bonham and (guitarists) Val and Davey. We let ourselves off the leash with this one. The lyrics and the dark sentiment need room to move. It's the kind of song that takes you somewhere else. You're always surprised when it's finished.

Midnight. I wrote the verses on the Fleetwood Mac tour and finished it in the studio in LA. It's a bit of a freewheelin' number where the protagonist is almost enjoying the lack of clarity, the diversion from her path, indulging in that "blue light" of midnight.

Winter started as a kind of poem. I knew I didn't want too many chords. I wanted to keep it drone-like and dreamlike. Recording was intense, and actually quite tricky because I didn't want there to be any effort at all in the performance. You have to go into a zone for a song that means a lot to you. To me, Winter represents the soul of this album.

Waste Of Time We've always loved the harmonies on Neil Young's Harvest, so here we're all gathered 'round the one mic. This song could be both the start and end of the journey: leaving for the road, the town, the city… heeding the call of wanderlust.