that day we wrote the song ‘sweeter,’ which became the title track to the record. we were really excited about it, we felt it has something very gritty about it, but at the same time very soulful. there’s an element of the black keys to it, there’s an element of sly and the family stone to it and it still had that anesthetic hook, which we were stoked about. [...] "the first day, we were just sitting around the piano, and he was like, ‘hey man, what do you think of this little piano riff?’ you know? [mimics the intro to 'not over you'] i was like, ‘oh, it sucks.’ i’m kidding. i was like, ‘wow, man! that’s great, it’s got a great hook. it’s already catchy. i don’t know what it is but i want to keep listening to figure it out. we were excited about, and we thought right away that it sounded like a first single. it brings new elements to the table and at the same time is reminiscent of the first record, the ‘chariot’ record. there’s sort of a discovery period element to that song that really felt, you know, like you’re finding your way with music. that’s a special type of feeling to have when you’re turning a song, to make it a song that doesn’t sound like you planned on writing it, a song that sort of sounds like an accident. that’s what i really like about it.