I've always had a soft spot for Phil Collins. He's a great vocalist.

I was literally just going and applying for jobs, and I couldn't get a job, and I was getting more and more broke, and you find yourself groveling for jobs you don't even want.

There were two recording studios in Bellingham. One was really expensive, a "nice studio." We were at the point where we were young and irreverent. We would scoff at the idea of a nice studio. "Why would you want to go to a nice studio? Oh wow, they have really expensive gear. Ooh, that's really fancy. Well we've got an eight-track. We've got it going on here." Now that we have the resources, we're like, "Oh wow, a nice studio is pretty nice! They do have nice outboards here. It's actually a pretty good place." It's funny how much changes so quickly.

I'm not like a 90-mph fastball kind of guy, but I can hit 70 on radar gun.

I'm a war of head versus heart, it's always this way. My head is weak, my heart always speaks, before I know what it will say.

There's a cinematic quality that happens in my mind when I hear something that really lands. An album is just a journal of a life moving through time.

Every record we do there are always two camps. There's the camp that's like, "I love it. It sounds different than the last one." There are the people that are like, "I want it to sound like the last one." You can't please everybody all the time, but I think for the most part we tend to maintain a healthy level of self-reference to kind of make sure we continue to push things forward.