Sometimes a little self-love can go a long way to connecting with the world around us. That's one of the key messages of My Morning Jacket's latest single "Love Love Love," from the band's new self-titled album due out Oct. 22.

"'Love Love Love' is just about trying to spread as much love as you can, but that it starts with you standing up for and loving yourself," singer/songwriter Jim James tells GRAMMY.com. "I want to try and spread as much positivity as I or we can, which obviously isn't always easy."

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The new album is the band's first collection of new music since they recorded The Waterfall and The Waterfall II, released in 2015 and 2020, respectively, but recorded during the same sessions.

It finds the band rediscovering and embracing their passion for playing together after time apart doing their own projects. The band decided to self-produce, which allowed them total freedom to let the songs breathe and develop over two multi-week sessions at Los Angeles-based studio 64 Sound.

"It was a beautiful experience, and we were so fortunate to get to spend some time together just the five of us reconnecting with each other as friends and making music together," he says. "We had been apart for a while as a band and were not sure what the future held and so it was such magic to find ourselves together again and laughing and sharing and creating."

GRAMMY.com caught up with James to talk about the importance of breaking free from technology and embracing the natural world, how the band found complete freedom in self-producing the album, and more.

How have you grown the most as a songwriter and individual during the past year and a half?

At least for me, it has just reinforced my love of nature, my desire to really focus my time with the people that mean the most to me. I really tried to stop doing things that I felt like I was obligated to do. I feel like just so much in life we run around almost in an unconscious way.

The pandemic has, at least for me, introduced this new level of consciousness, of trying to be super aware of how I'm spending my time. It kind of brought this new awareness that we don't have forever, and the future is not guaranteed. And that we really need to make every day count, and really spend it with people that we love, and doing things that we love.

Speaking of love, the new single on the new album is "Love Love Love," which is about positivity and love for one another. Why is it important to keep a level of hope and positivity?

"Love Love Love" is just about trying to spread as much love as you can, but that it starts with you standing up for and loving yourself. I want to try and spread as much positivity as I or we can, which obviously isn't always easy. I tend to write a lot about feeling lost or sad or like I don't fit in. But I also want to weave messages of hope or positivity in there which I hope could maybe get through to someone else who may be feeling lost or sad and let them know there is a way out of the sadness…that things can and do change.

Life can be so hard, and it can be easier to dwell on the tough times, but I feel like it's also our sacred duty to celebrate when things are good, to name those feelings and those moments and speak them out loud. Like, "Wow this is such a beautiful moment!" or being sure to tell our loved ones how much we love them and how special they are.

I think also along with this, we need to all start meeting each other in the middle more. [We need to] turn off the cable news channels and listen to each other more and recognize our shared humanity and resonance with all the other beings and this beautiful planet before it's too late.

The sentiment lyrically is just to stand up for yourself, learn to love yourself and then use that to spread as much love to others as possible.

How would you describe the song's development?

It started in two different directions. One was a sort of moody psychedelic thing and the other was this propulsive electronic beat I was working on. Somewhere along the way I decided to merge the two in the demo I sent to the band. We ended up making it a more live organic electric hybrid thing by performing around the drum programming I had created originally.

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There was a point where you and the band weren't sure if you'd ever release another album. However, reuniting for a few shows in 2019 including a couple at Red Rocks helped reignite the spark. How did all that help convince everyone to get back into the studio?

I think it just really showed us that balance is so important to life. I feel like life just got so out of balance for so long that I had to find a way to create that balance. I was really bad at saying yes to too many things, and then getting just too beaten down by life.

I didn't have the energy I needed for the things I loved, because I was saying yes to too many different things. So, I think once we had taken some time away, and weren't so beaten down by the schedule of the band, we were able to feel the energy again and feel the essence of playing together.

The band made a concerted effort to capture the raw energy from the band's live performance in the recordings. Why was that important?

We just kind of went in with no pressure on ourselves. And no goal, really, other than to have fun and just try things. Also, it was just the five of us together, which was really special, too. It just enabled us to kind of focus on our friendship and the energy between us in this really special way that kind of just removed all the pressure.

And we got to spend some nice time [together], just letting things fly and trying out ideas. And just enjoying the gift of friendship, and the gift to being able to play, create music together. I think that resulted in a lot of moments that were really beautiful, that just felt really spontaneous.

And there were live moments where we're having fun performing for each other as if we were performing live in front of a crowd. Because sometimes I feel like in the studio, some of that can get lost. You can get nervous, or you can get too hyper-focused on things. We tried to have a really laid-back atmosphere, which I think really helped.

I imagine that helped the songs develop naturally, without any pressure.

Yeah, I think it really did. I had a ton of different ideas that we tried. So many different things. And seeing things work, or just some things don't work. That's kind of the fun thing, also, about it just being the five of us, is that it was fine if something didn't work. Because it was only us analyzing it, and not feeling the pressure or really feeling disappointed if something didn't work. We were able to just move on and to the next thing.

Why did the band pick the 64 Sound studio to record the album?

It felt like a classic, real homemade kind of feel to it. They've got some great gear in there. They really let us be in there and helped us set up and get going and stuff, and then left us alone, which was what we really wanted and needed.

We kind of need a room that's big enough where we can all sit in it and see each other. And the room was kind of the perfect size because it's not giant. It's a really nice-sized room we can fit a band in, and all band gear, and just have enough options to be able to get great sounds, and all play together in this really cool way.

At what point did you realize it would be such an existential album lyrically and thematically? Do you think you're better able to articulate your thoughts on these types of topics compared to past albums?

I'm not sure. it all just flows, or it doesn't, and I try not to question it. It just flows and then I have to spend time with it and nurture it and bring it into the real world and then let it flow some more. I'm not the kind of songwriter who can sit down and deliberately make something happen or change. It just has to be nurtured and then it will flow, or it will stop flowing. [Laughs.]

I have piles of really cool song ideas that I love where, for whatever reason, it just stopped flowing. But that's also the cool thing is that sometimes I'll pick up an old idea from ten years ago and it will start to flow again. Magic. Or not. [Laughs.]

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The album starts with "Regularly Scheduled Programming," which is about becoming numb to reality through technology. Why was that topic important to explore?

I just feel like we've all gotten swept away in this tidal wave of technology, and that we're all drowning. Drowning in social media, in streaming content and all this stuff that's supposed to make our lives better. I feel like social media is tearing us apart. And people forget their own dreams, and their own creativity, because they wash it all away each night, binge watching streaming and stuff like that. And I write that from being washed away myself. I found this moment where I saw how washed away I was getting.

I was missing out on so many great things and life. Missing out on nature, missing out on connecting with people that I love, and missing out on sitting and playing the guitar. Or meditating or reading a book. All these things that I feel like really connect us to our own souls, and to the soul of the planet and the universe, and the souls of each other, kind of reminding us that we're all one. And I feel like all of this technology is really separating us, and really making us all greedier. To lust for more followers, for more devices.

There is this illusion that social media makes us all more connected, when in fact it is ripping us and the planet apart, which is a shame, because social media could be a very helpful tool—if we could all learn to use it like a tool—literally check it out for five minutes a day or whatever. [We could use it] just to see what events, music, etcetera are happening or spread good messages for equality and progress and peace and love.

Instead, it becomes this terrible addiction designed to make as much money as it can off of you by making you feel as bad as possible and like you need the products they are pushing to make you feel better.

I think that is the problem at the heart of most of this new tech, which could be really great for us. Like music streaming—brilliant idea and a wonderful service but they still cannot pay artists fairly for their work. At the heart of all of this is greed.

I think in general a lot of what I am trying to say in my lyrics is really about trying to get folks to get off their devices and spend more time in nature and spend more time connecting with real people.

At least for me, spending more time in nature, meditating, and being with the people I love makes me feel like a healthier more creative person. And in "Regularly Scheduled Programming" I am just trying to say wake up to love before it is too late.

I really like the ["Regularly Scheduled Programming"] lyrics "Diamonds are growing in the garden / Raindrops are filling up the sea" and "One shot at redemption: a mighty and sacred love." Why did you pick those nature images?

I was trying to illustrate what folks were missing in the real world and out in nature while they were busy staring at their phones or devices. Like look at these beautiful dew drops in the garden! Or look at those same drops filling up the sea and keeping us all alive—the miracle of water!

I am trying to say in that song: "Look up! Look out! Look to nature and look within yourself! learn to love yourself! Look to love before it's too late!" There is also the message and a wish that we could be more responsible as we evolve. It is so sad to me that all of this tech could even be powered by nature—the sun, the wind and the water—but instead we are still chained to the greed of the fossil fuel industries and other destructive energetic methods.

With "Complex" you talk about the anxiety of feeling you're missing a piece of the puzzle. What about puzzles as a metaphor do you find appealing and fitting of recent times?

I think everyone can agree we live in complex times. The divide and conquer methods of this sort of extreme capitalism are working too well on people and we are being torn apart. People are taught to care more about the dollar than their fellow human being. We have all these bots and misinformation swirling on these social media platforms that folks spend hours a day on. How do we get out of this complex web we have found ourselves caught up in?

I am not saying I have it all figured out by any means. I struggle with it all too on a daily basis. But I do think one of the answers to the riddle for us all, no matter what side you may think you are on, is for us all to turn off the device and get out into nature. Or if for some reason you cannot get out into nature, turn off the device and just sit there. Just be and listen to what your soul and the universe really have to say.

"I do think one of the answers to the riddle for us all, no matter what side you may think you are on, is for us all to turn off the device and get out into nature… Just be and listen to what your soul and the universe really have to say." Jim James

"In Color" talks about the importance of everyone coming together no matter where they come from. Why is that important? What are some ways people can get to that goal?

"In Color" is just about celebrating our differences. The fact that there are so many wonderful beings of every shape, size, color, and belief should be seen as a great thing! And I think it really is. We should all be so happy that there are so many wondrous and amazing people of all walks of life that we can learn from and love. But instead, because of this classic divide and conquer B.S. that works so well, we end up with hate and division.

Again, I think it's time we start listening to real people more and get off the social media opinion streams and misinformation fountains of filth and hatred that spew forth from this monster called the internet that we have created.

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Between two award seasons, A Star Is Born received seven nominations — including Record Of The Year and two nods for Song Of The Year — and four wins for Best Compilation Soundtrack for Visual Media, Best Song Written for Visual Media twice, and Best Pop/Duo Group Performance.

In this episode of GRAMMY Rewind, travel to 2019 to watch Lady Gaga accept one of the album's first GRAMMY wins for Best Pop/Duo Group Performance for "Shallow."

After thanking God and her family for their unwavering support, Lady Gaga expressed gratitude for her co-star, Bradley Cooper. "I wish Bradley was here with me right now," Gaga praised. "I know he wants to be here. Bradley, I loved singing this song with you."

Gaga went on to express how proud she was to be a part of a movie that addresses mental health. "A lot of artists deal with that. We've got to take care of each other. So, if you see somebody that's hurting, don't look away. And if you're hurting, even though it might be hard, try to find that bravery within yourself to dive deep, tell somebody, and take them up in your head with you."

Press play on the video above to hear Lady Gaga's complete acceptance speech for A Star Is Born's "Shallow" at the 2019 GRAMMY Awards, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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Mastodon's drummer and singer Brann Dailor assures you he did not purchase his shiny golden gramophone at his local shopping mall.

“I won that! I’m telling you. It’s a major award,” he says in the latest episode of Where Do You Keep Your GRAMMY?

The metal musician won his first GRAMMY award for Best Metal Performance for Mastodon's “Sultan’s Curse” at the 2018 GRAMMYs.

“‘Sultan’s Curse’ was the jumping-off point for the whole theme of the album,” he explains. “The protagonist is walking alone in the desert, and the elements have been cursed by a Sultan.”

It’s a metaphor for illness — during the creation of the album, the band’s guitarist Bill Kelliher’s mother had been diagnosed with a brain tumor and bassist Troy Sanders’s wife was battling breast cancer.

For the band, the GRAMMY award represented their version of the American Dream and culmination of their career work. Even if Mastodon didn’t win the award, Dailor was happy to be in the room: “We felt like we weren't supposed to be there in the first place! But it's an incredible moment when they actually read your name."

Press play on the video above to learn the complete story behind Brann Dailor's award for Best Metal Performance, and check back to GRAMMY.com for more new episodes of Where Do You Keep Your GRAMMY?

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In April 1993, journalist Stuart Maconie coined the term Britpop for a Select magazine article celebrating the UK's fight back against the dominance of American rock. Remarkably, London four-piece Blur weren't even mentioned in the story. And yet, frontman Damon Albarn, guitarist Graham Coxon, bassist Alex James, and drummer Dave Rowntree would provide the catalyst for the scene's mainstream breakthrough.

Just a year later, Blur released what many consider to be Britpop's defining statement. Parklife served as a colorful, vibrant, and incredibly infectious love letter to all things Anglocentric, drawing upon the nation's great cultural heritage while also foreshadowing what was to come. And it instantly struck a chord with homegrown audiences desperate for guitar music that wasn't drowning in abject misery, and better reflected their day-to-day lives.

Remarkably, Albarn had predicted Parklife's success four years earlier. As he declared to music writer David Cavanagh in 1990, "When our third album comes out, our place as the quintessential English band of the '90s will be assured. That is a simple statement of fact."

Three decades after its game-changing release, here's a look at how Parklife forever changed both Blur's career trajectory and the history of British rock.

It Kickstarted Britpop's Greatest Rivalry

In one of those great rock coincidences, Blur's third LP hit the shelves just 24 hours after "Supersonic" gave a then-relative unknown Manchester outfit named Oasis their first ever UK Top 40 single. And the two bands would remain intertwined (perhaps begrudgingly so) from then on, culminating in the most high-profile chart battle in British music history.

You could argue that Oasis' Noel Gallagher threw the first stone, describing Parklife as "Southern England personified" in a manner that suggested it wasn't exactly complimentary. And according to his manager Alan McGee, Definitely Maybe cut "Digsy's Dinner" was written as a deliberate "piss-take of Blur."

An increasingly bitter war of words then broke out in the summer of 1995 as the "Country House" versus "Roll With It" war swept the nation. Blur emerged victorious, although Oasis had the last laugh when (What's The Story) Morning Glory spent 10 weeks atop the UK album chart.

It Brought Storytelling Back To Indie Pop

Heavily inspired by Martin Amis novel London Fields, Parklife was inhabited by a cast of intriguing fictional characters, essentially doubling up as a series of short stories. "Tracy Jacks," for example, is about a golf-obsessed civil servant who ends up getting arrested for public indecency before bulldozing his own house.

"Magic America" is the tale of Bill Barret, a Brit who commits to a life of excess during a Stateside holiday ("Took a cab to the shopping malls/ Bought and ate until he could do neither anymore"), while "Clover Over Dover" explores the mindset of a manipulative boyfriend threatening to jumping off the titular white cliffs.

Over the following 18 months, everything from Pulp's "Common People" and Space's "Neighbourhood" to Supergrass' "Caught by the Fuzz" and The Boo Radleys' "It's Lulu" were combining classic British guitar pop with witty Mike Leigh-esque vignettes of modern life.

It Originated The Big Indie Ballad

Dramatic ballads aren't necessarily the first thing that come to mind with Parklife, a record famed for its jaunty, "knees-up Mother Brown" ditties. But it boasts two examples: "To The End," an alternate Bond theme featuring a burst of Gallic flair from Stereolab's Laetitia Sadler, and the swoonsome "This Is A Low." Turns out the "mystical lager-eater" the record was designed to embody could also get a little vulnerable from time to time.

This appeared to give all of their laddish peers some pause for thought. Oasis, the most fervent advocates of the "cigarettes and alcohol" lifestyle, later scored their biggest hit with acoustic ballad "Wonderwall." And bands including Cast ("Walkaway"), Shed Seven ("Chasing Rainbows") and Menswear ("Being Brave") all enjoyed UK hits revealing their softer sides. No doubt Coldplay, Travis, and every other sensitive post-Britpop outfit that emerged in the late 1990s were taking notes, too.

It Paid Respect To The Greats

The Britpop scene was renowned for its slavish devotion to the first time British guitar bands ruled the airwaves, the Swinging Sixties. Oasis freely admitted they modeled themselves on the Beatles, while the likes of Ocean Colour Scene, Kula Shaker and The Paul Weller all released albums that sounded like they'd been discovered in a vintage record shop.

And while Blur would later distance themselves from the past with a sense of invention (which Albarn would also parlay into his various side projects, including the virtual band Gorillaz), they were more than happy to get all nostalgic on Parklife. See "Far Out," their only track to feature James on lead vocal, which resembled the trippy psychedelia of Pink Floyd in their Syd Barrett era, and the Sgt. Pepper-esque brassy instrumental "The Debt Collector," while there are also echoes of the Walker Brothers, The Kinks, and Small Faces. Suddenly, retro was the new cool.

It Turned Blur Into Britain's Biggest Guitar Band

The UK Top 10 success of 1991's "There's No Other Way" proved to be something of a false start for Blur, with the band soon falling by the wayside like every other baggy pop outfit that emerged at the turn of the decade. "Popscene," the 1992 single intended to revolutionize both their career and British guitar music in general, stalled at No. 32, while 1993 sophomore Modern Life is Rubbish sold just 40,000 copies.

But Parklife single-handedly turned Blur into Britain's biggest guitar band, reaching No. 1 in their homeland, spending 82 weeks in the Top 40, and eventually becoming a million-seller. It went on to pick up four BRITs, a Mercury Prize nomination, and has been recognized as an all-time great by Spin, Pitchfork, and Rolling Stone. Further proof of its glowing reputation came in 2009 when Royal Mail selected it as one of 10 albums worthy of commemorating on a postage stamp.

It Spawned A String Of Classic Singles

Parklife's campaign was kicked off in March 1994 with "Girls and Boys," a glorious dissection of British vacationers — which, surprisingly in the days when genre-hopping was frowned upon — evoked the '80s synth-pop of Duran Duran and Pet Shop Boys. Rowntree was even replaced by a drum machine, not that he particularly minded, luckily.

This indie floorfiller was followed up by the hugely underrated "To The End" and then the much-quoted title track. Everything about "Parklife" the song is larger than life: the Cockney geezer narration from Quadrophenia's Phil Daniels, the festival-friendly sing-along chorus, and the brightly colored video in which James — perhaps tipping his hat to Queen's "I Want to Break Free" -– donned soap opera drag. But fourth release "End of a Century," a melancholic tale of domestic drudgery complete with mournful trombone solo, once again proved there was a depth beyond their cheeky chappy personas.

It Made Brits Proud To Be British Again

Unable to connect with the oppressive angst and flannel shirts of the grunge movement that had plagued their first major North American tour in 1992, Blur first started to embrace their inherent Englishness on the following year's Modern Life is Rubbish. Unfortunately, this throwback to the original British Invasion was met with a resounding shrug of the shoulders on both sides of the Atlantic.

Undeterred, however, the band doubled down on all things Anglocentric on its follow-up, from its original title of London, to its greyhound racing cover art, to its celebrations of bank holidays, Club 18-30 holidays, and shipping forecasts. This time around, they managed to capture the zeitgeist (at home, at least), as the rise of New Labour and the forthcoming hosting of Euro '96 made everyone proud to be British again. Within 12 months, the UK charts were littered with homegrown guitar bands selling the idea of the English dream — and it all started with Parklife.

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Using lively, raw instrumentals as a vehicle for emotional catharsis, Sleater-Kinney’s Little Rope takes the lead as one of their most vulnerable projects to date. 

The "Dig Me Out" singers approach their 11th studio album with a fresh perspective, influenced by their experiences during the pandemic. Despite the departure of drummer Janet Weiss in 2019, the band maintains their iconic post-riot grrrl take on rock music. Carrie Brownstein and Corin Tucker infuse Little Rope with reflective lyrics and raw energy, mirroring their personal growth and resilience. 

While working on the album one day, Brownstein received a call with news that nobody ever wants to hear, nor expects. She had been informed that her mother and stepfather had been involved in a fatal car accident while on vacation in Italy. Faced with grief and a sense of unfamiliarity, the band turned to something that always brought them comfort: making music. Little Rope was born.

Despite such a tragic, major life change and trying to make it through a global pandemic, Sleater-Kinney’s motive remains consistent.

"We hope to find people where they're at," Tucker explains to GRAMMY.com. "And it seems like we have, in each stage of someone’s life."

After hosting a GRAMMY U SoundChecks event with the Pacific Northwest Chapter of GRAMMY U, Sleater-Kinney sat down with GRAMMY.com to talk about their perspective on the ever-changing industry and the legendary bands they pull inspiration from.

This interview has been edited for clarity.

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It has been almost 30 years since you all released your first album. In what ways has Sleater-Kinney changed since then and what has stayed consistent? 

Corin Tucker: We still try to write songs that are emotional and that reach people. Our songwriting has developed over the years and I think we have different methodologies for writing. But, really the most important point of a song is that it makes people feel something. We still try to judge what we do by the same metric as we did 30 years ago.

Carrie Brownstein: One thing we set out to do is to have a unique sound and I think we created a sonic language with each other that we've tried to maintain, but also push the narrative forward and challenge ourselves with each album. That's been consistent from the beginning, we never — even in the early years — wanted one album to sound like the last one. Things change and the industry changes. We just try to stay true to ourselves, but also adapt.

Are there any of your early projects that you feel still resonate to this day? 

Corin Tucker: The funny thing about streaming is that people are finding some of those older songs and really getting into them. We found out at the end of last year that people were really into one or two songs off of our very first self-titled record. A really nice thing about having your music available digitally is that it's available to everyone all over the world. 

Path of Wellness (2021) was self-produced, as it was made during the peak of the COVID-19 pandemic and Little Rope (2024) was produced by GRAMMY-winning producer John Congleton. What was it like going from a self-produced project to having John on the next project? Was there a certain reason you chose to work with John? 

Carrie Brownstein: Self-producing for us was very anomalous. We've always worked with producers and one of the reasons is to just have an outside perspective — somebody to come in and be the tiebreaker or to just bounce ideas off of. So, it was kind of a no-brainer to return to a producer after the solitary of the pandemic. 

We have always been fans of John Congleton's work. We come from similar backgrounds and have been in talks to work with him for a while. Fortunately for this album, it worked out and we felt like these songs would be really well served by his productions. 

Could you tell us a little bit about your dynamic as a music duo? When writing songs, do you both try to work on them 50/50 or is it on-and-off, where one of you may take the lead for certain songs? And what was this collaboration like specifically with Little Rope? 

Corin Tucker: Our goal is always to make the song as strong as it can be. We’ve worked together long enough to know that that's the most important thing. Sometimes a song is more an idea of one or the other, and you need to wait until they’ve fleshed it out to come in with your parts. We have a bunch of different modalities and we just try to keep the conversation going. It's a lot about communication – it's an ongoing constant conversation between the two of us on where the song is at and what we think it might need.

Can you share any standout memories or experiences from when you were writing Little Rope?

Carrie Brownstein: My friend has an apartment in Downtown Portland and he was out of town. So, he let us use the space as a writing studio. And neither of us live in Downtown Portland, so it was interesting to be in this highrise in Portland looking out over the city — sort of being in conversation with the city and changing the landscape in which we were writing was nice to have.

As Pacific Northwest natives, how do you see your Pacific Northwest roots stick out in your music? 

Corin Tucker: A lot of the sounds from the historic bands you can hear in our music. You can hear Nirvana, you can hear the Fastbacks, so you can hear so many of those Pacific Northwest musicians. They were bands that we grew up with and bands that we still try and emulate with what we do.

I feel like a good number of Sleater-Kinney fans have stayed fans and grown with you all over the years. What about your music and your brand do you think resonates with people even in different stages of their lives, and how did you foster this dynamic? 

Carrie Brownstein: Sleater-Kinney’s a very earnest band. We wear our hearts on our sleeves and I think our audience appreciates that rawness and vulnerability. It's emotional music.

We have a lot of younger and newer fans. I think they relate to the emotionality and the honesty in the music, so that’s what we try to stick with.

You have said that The Showbox is one of your favorite venues to play at in Seattle. How does it feel being back at The Showbox for two sold-out shows? 

Carrie Brownstein: We really enjoy the intimacy of a smaller venue, allowing the fans to get a little closer to the stage and feeling more connected with them. It's just nice to feel a sense of history, a through line with our career and our relationship with the city. We're really excited to be here. 

I’m curious to know how your fans reacted to Little Rope. Have you noticed any common reactions to the project? Or any particular responses that have stood out?

Corin Tucker: People really relate to the emotion in the music. We've gotten a lot of people saying that it helped them through a hard time. Having that impact on people is pretty special when they feel like it's okay to be emotional and process things with music.

Lastly, you have the rest of your international tour to go, but what else is coming up for Sleater-Kinney? 

Corin Tucker: We're very excited to play shows internationally. There may be some cool stuff coming up that maybe hasn't been announced yet, but we're looking forward to more touring.

Carrie Brownstein: For an album cycle, it's almost two years and so, for the most part it will be, it'll be touring and then we'll write something else.

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