Pitchfork: What was the atmosphere in the studio like when you first got there?

JM: I got there before André, so Damon and I just talked about what we wanted to do. He was already playing around with some new machines, and one of them wound up making a loop that we liked-- we were working on the track before we realized we were working on the track, which was really nice. And then André came in and started playing piano in the background-- everything was a lot more normal than I would have expected.

Pitchfork: André's a pretty mysterious guy, what was he like to work with?

JM: He's just incredibly sweet and cool in a really normal way. He's just an awesome dude. Like, you know how you think you're going to meet André and he's going to be totally cool? He's actually way cooler. I was pretty awestruck. And I was really stunned at how good Damon and André are as technical musicians. Far better than me. They could both sit down and play the piano really well, and I was just like, "Um, I can hit stuff."

Pitchfork: What's your favorite OutKast album?

JM: That's a tough one. In a way, Stankonia, because when it came out it was like, "What?!" But it's tough to not pick anything that has "Hey Ya!" on it because that's like my favorite song of the last 10 years. It's a perfect song; it's hard to not like. It would be weird to have that come on and for someone to be like, "Ugh." I don't know that person. When it comes on, I'm instantly in a good mood in the best possible way.

"You know how you think you're going to meet André and

he's going to be totally cool? He's actually way cooler."

Pitchfork: What was it like working with Damon in his studio?

JM: I have my own studio habits based around being alone, so it was totally refreshing to go to Damon's studio. I didn't have to feel any of the pressure of it being my place, or apologize for this or that, or make sure everybody felt happy. I just got to walk around and play with new things. Damon's very quick and he records anything he's trying, which I found really refreshing. I'm much more labored.

Pitchfork: Were you a Blur fan in the 90s?

JM: I was a Blur fan later. I got into them after I started DFA and met Tim Goldsworthy. Before that, I was into American music pretty much exclusively. I was a grumpy indie rocker, so I think they were too successful for me to like back then.

Pitchfork: Damon has managed stay successful and creative after Blur ended. Considering how you wrapped up LCD last year, did you kind of pick his brain about that sort of thing at all?

JM: No. I just get inspired when I'm around people that work as hard as he does. He makes music all the time. And that's always a little humbling. I'm like, "Oh shit, I really need to stop checking my email and get back to work." He gets at it like a kid every day.

Pitchfork: So there's a 12-minute version of this song, right?

JM: Yeah. That was the fun part. When André started singing, Damon and I just looked at each other, like, "Holy shit, we love his voice." Then Damon sang, and his voice is amazing, too. We'd been working and playing keyboards in the little studio room and, in a weird way, you could forget that Damon has this really distinct voice that's like a part of your history.