And once the music is out there, when you're selling a record and selling music and people are going to do whatever they want with it, it's kind of hard to resist certain opportunities, especially in the record market now.

I see a lot of comments on Twitter and stuff about how ugly I am, how bad I am at the drums, how awkward I look, and I'm like, yeah, I agree with most of those things.

I was real into Devo, Pavement, Captain Beefheart, and the Jon Spencer Blues Explosion.

The idea of a streaming service, like Netflix for music, I'm not totally against it. It's just we won't put all of our music on it until there are enough subscribers for it to make sense.

A lot of people see a Nissan ad and they see a finished product in a record store or on iTunes and that's the face of the band.

In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.

I had this fascination with four-track recorders when I was in high school.