"Like, when I wrote `Oh, Comely,' I felt really great about it. I wrote it till six in the morning. I was staying at my dad's house at the time, and I was walking around the kitchen, and my dad heard me, and he's like, `What are you doing, son?' And I came in there and I said, `Well, Dad, I just wrote this song, it's really pretty freaked out.' So I played it for him and he made me feel okay about it. And I think that `Two-Headed Boy, Pt. Two' is that way, and `Holland, 1945' was that way, where I would be writing them and be feeling like things were right, and then I'd get tripped up by a line and suddenly think, `Oh my God, is this too much? Is this too fucked up? Are people gonna understand what I'm trying to say?' And it's taken seeing other people get the same reaction that I'm getting out of it to realize that I'm not just crazy."