The vocabulary that George and I share is unspoken, it’s like shorthand. There is a bit in Nana where it all stops, and I remember George saying, ‘Let’s just put a memory in there; let’s just have it open up and your vocal can become distant and you can put a memory in there’. and I was like: 'fucking hell.’ And we’d often get what we call these phantoms – little harmonics and ghost notes, moments that are created by harmonies of certain things playing into other things. Sometimes I’d say to George, 'turn that bit up,’ and he’d say 'there is nothing there.’
—  Matty Healy