their own. How did you work out you wanted to finish the record? TF: It sort of presented itself as being the finisher. JH: Originally, it wasn't so fleshed out. It was going to be this 30-second piece of music. And I think it was mainly Tom, that worked it out to more than that. TF: It was definitely pushing all my melodic buttons. I was talking earlier about the way chord changes can affect you, and I was definitely working on all that. I was actually struck ill that day, it was really terrible. There were these amazing chords and this great vibraphone going all around and I was just lying on the sofa going 'Why? Why?' JH: I love that one, though. That's great. TF: It's understated. There's those chords on top of that really filthy guitar. JH: I think we just powered through everything on that one. We showed all our best tricks. It's kind of the problem of being in a band or writing together. One person is like 'This is really good,' and another person says 'It could be a little bit better.' You wouldn't just be like 'Here's this really loud part to take up lots of space,' and someone else goes 'Here's an even louder part to take up more space over it.' People that get so highly strong about the fact that the band aren't playing sounds like Strange House anymore just don't get it. The band are constantly saying how they