I was a member of the band when it was just, like, a conversation at a bar. Then we constantly practiced, we played shows, we tooled around in the studio. And then, when I moved and kind of bailed on that, is when... So, yeah, for the first, 'Mass Romantic,' I was heavily involved. Then, for a couple records after that, I was not really involved at all.

Moments of unexpected sweetness happen when romance enters, which always happens in songs - if just for a split second.

Once you feel like you can safely quit a melody, you are free to explore more important things.

I like putting common expressions next to uncommon expressions. I'm sure in Poetry 101 there is a name for it, but it seems like you usually go one way or the other in rock music.

I don't really listen to rock music anymore. But were I to write a song that sounded like it could be a rock song, I'd probably give it to the Pornographers, and I'd be excited to try to make it work.

I'm not really sure that I have the same definition of things as other people. Like, when people talk about being "engaged" with the audience, I'm not exactly sure what they mean.

Generally, if you could picture a bunch of rock and roll momentum behind a song and it was particularly melodious, maybe the Pornographers would do it. If it was kind of moody and more lyrical, then maybe it would be a Destroyer song. Anything that's really lyrically driven I would keep for Destroyer.