I’ve always used the Les Paul and Gretsch White Falcon, and they’re both heavily featured on the new album. Regarding the second part, that’s a very pragmatic question. One thing I’ve done with the White Falcon is put things in the body — little bits of T-shirts or whatever — to help stop some of the feedback.
I was a little kid, like six or seven years old, when the Beatles came out. I remember hearing their music and I couldn’t imagine where that sound was coming from. Then I saw a picture of the Beatles, and George [Harrison] had an electric guitar, and I was like “That’s it!” It was that sound—the sound of George’s guitar—that first captured me when I was really young. It all goes back to that sound.
I don’t really separate things. I love music and I love aesthetic art as well. I feel like there’s a thread between visual art and music. Sometimes a designer can give me a similar feeling and impact me as strongly as hearing a really cool song or a really great guitar player.