What have you been up to in the last two years… between the last album and this latest one:

We took six months off. I produced Jane McNalith's EP, Amy made a solo record while Thor plays in another band called Memphis… then we got back together and started writing.

What have you been listening to recently — was there anything that particularly caught your attention?

It's funny, I grew up listening to classical music, I studied French horn and then moved on to keyboards and writing pop music with Stars. But after such a long tour, with dates packed so closely together and shows where you obviously always play the same songs, I felt the need to step back and listen to some music. For instance, I listened to a lot of Pink Floyd, partly because I wanted to learn their guitar riffs. For the record, I think I went inward — I wanted to explore music, its beauty and its art within myself. I contemplated a lot and wrote a lot before playing anything to the band.

Are you happy with In Our Bedroom After the War — do you think it's your best album?

That's a tough question… the album came from all of us, we all write. Starting from a jam we work our way to melodic ideas. Chorus, bridge, riff, and then Emy or Torque write lyrics and melodies. We always do it that way. You're never entirely satisfied — we wanted to try different things. Some of them are great and we'd never managed them before, but you're never 100% satisfied. You know, you write something, then you record it quickly, and when you take it on tour… instead you try to recreate the moment and very often the piece improves. I think the best thing is to write it, take it on tour, and then record it.

Canada was "the" new scene — now there are others, the Scandinavian one or new rave, for example… how are things in Canada right now, are there any new bands you'd recommend?

Jane McNallis, the girl I produced, has an extraordinary voice and she's only 22. She's from Taiwan but was adopted by two Americans in Tallahassee — she now lives in Montreal, you'll be hearing about her. She plays piano and guitar and has this beautiful raw voice, Cat Power-esque. Another band is called The Miracle Fortress, and they'll be our support act — there's a very talented guy among them. There are many… honestly, but I should get out of the house more if I'm not the right person to ask.

Everyone's remixing each other these days — what do you make of the remix boom?

It's an interesting way to explore and interpret music. I think it's great — with our remix album I think it was really something. Our friends reinterpreted our record and it revealed their love for us… you know, the tracklist is the same but it sounds different… and knowing them so deeply, we had fun listening to them and thinking about the kind of people they are.

Which is your favourite?

Definitely the Junior Boys one — it came out better than the original. A great remix that turned an organic, rock piece into a big dance track. It's beautiful, but they're phenomenal.

Some say this album is proof that intelligent pop exists. What do you think?

Well, I think we've managed it after dedicating eight years and practically our lives to it. So many others do it too — music from the heart, intended. Trying to give people something, maybe even change their lives. In music, art lies in giving things meaning and significance. And in a live show, in living that energy.

Is it alright to call it pop?

Yes, of course — we want it to be simple and catchy but also rich in meaning; if the message and the intentions blend with pop melodies, that's absolutely fine.

What are the plans now that the album is out?

We'll tour it for a year and then we'll see — I think I'm at a point where I could take a year off and see how things go. This job is wonderful but you need other experiences, meeting new people and engaging with realities outside the routine. Simply having fun, parties, playing video games — why not! Or sleeping… on tour you're on the bus and you don't sleep all that well, that's what I miss. But it's all great, I couldn't ask for more from life.

All over the world, smog and light pollution stop us from seeing the stars — "stars" — do you think music and musicians have more power than others to raise public awareness of the problem of environmental sustainability?

Yes! We've all reached the point where we have to commit and accept the situation. We musicians have a responsibility, but if we segment the population into those who want change and those who don't, we won't get very far — the responsibility belongs to everyone. Every human being needs to connect with the planet, the stars, nature. Right now we don't do that very much, but we need to relearn it — we are animals and we need to connect with our planet more and more, not less. We're not just mobile phones at the wheel… that way we'll die — the responsibility is everyone's.

Live 8 — a sincere demonstration of environmental awareness or a marketing exercise to give things a "green coat of paint"?

(laughs) I hope not the second… I'll just say that, but I don't know enough about it.

Where would you play a pro-environment concert? On an iceberg at the pole or up a tree in the Amazon?

It's interesting because in both cases the ice melts anyway and the tree gets cut down anyway, so we musicians are at risk too. I love the ocean — I'd play in Nova Scotia where I have a small farmhouse; there I'm filled with joy in my soul. I'd bring my friends to the shore of the ocean and play there. I'm an idealist.