On a musical level, I do find it rewarding. It's not like I want to blow my brains out while I'm playing these songs from so long ago. I am still surprised by the way the songs are constructed - note choices, the way the arrangements are made, the way these songs are assembled. I'm still amazed at times.

Now since I've gotten back into it, I've been listening to a lot more of the 1990s death metal type stuff.

I was young, but to me that was underground music. I had never heard anything like Venom or any of that stuff growing up in Louisville. That was sort of the only weird records I could find. All that stuff would be in the import section. And sometimes there would be some sort of goth type of stuff. But that was the stuff I was attracted to.

The thing I like about the band [Dead Child] is that there's no pretense. We aren't even trying to be artists or poets.

We made basement practice songs.To have them presented in such a huge fashion today - like at Primavera, where it's thousands of people in a festival environment - is surreal. I never thought some of the songs would ever need to be projected at such a volume or to such a wide span of people.

We were pretty normal - suburban kids having a good time playing in bands. We were silly. We weren't dark, intense, humorless people. Humor was one of the connecting forces among us. It was more like camaraderie.

Most people found out about Slint in the mid or late 90s, but we were an '80s band. We started in 1986 and broke up at the end of 1990.