We are ever evolving and never repeat ourselves.

No. 1 records are fine, but in 2016, they just don't mean as much any more - the currency has changed.

I've said the Grammys messed up metal because it's not on TV. What I'm saying is when you're in a metal category, it's not televised, and it doesn't move the needle forward for metal artists, and I wish they had more respect for the genre.

I went to this vocal coach, Ron Anderson, who has worked with Axl Rose and Chris Cornell, to train my voice and learn a whole new way of singing.

I recall us selling out L.A.'s 5,000-capacity Gibson Amphitheatre and flying straight to Germany to play a 300-capacity room where we'd only sold 120 tickets. This was when 'City Of Evil' was really taking off in the U.S., but it seemed like Europe was less interested.

Ever since 'Hail to the King,' we've been more cognizant of our chord progressions, our key changes, drama in songs, a lot of dynamics - we've really added a lot of that in there.

We go out there and kill it every night, and you can see what this means to people.

The reality is you either step into the future, or you become a dinosaur.

Headliners, no matter the genre, usually are a person or band who has an ethos.

I feel like the expectations have gone up. It's not a complaint, but it's a little intimidating. People are like, 'Oh, you're on Matador. It's kind of a legendary label - you're going to have to live up to all those other bands.' I guess it's not that explicit.

Humans are fascinated with communication. I was always drawn to words and stories, staying in touch with your feelings and being open to what's around you.

I was always writing. I've always been attracted to words and stories, communication.

There was never an 'a-ha' moment when a spider bit me and I knew I could write songs. For that reason, I don't know if I'm always going to be able to. I want to write songs forever, but it's an elusive thing.

I've talked with friends about this: when you write about yourself, that's what people connect to. When you write a sermon or a lesson, that may not reach people. I've learned a lot from people who have been writing about themselves.

Before I even pick up a guitar, usually the words are done. So I'm not first and foremost a musician. I'm first and foremost a writer.

I think in 'No Burden' there was a lot of positivity on the record.

I couldn't have imagined working on a film I didn't believe in.

When I'm on a stage, it's just me, singing a song with words that I wrote and I believe in. And if I don't believe in them anymore, I'll stop singing that song.

I don't end up writing songs in my journals, but I'm sure that my ability to write songs has been helped by how consistently and impulsively I try to get my life into words through the journals.

I was the funny one in my group; there was a lot pressure to be responsible for everyone's happiness. I didn't like watching other friends of mine be called the 'pretty one' or the 'smart one.' That had no depth, and it didn't match how I knew them.

A breakup is a state of mind that needs encouragement and needs hopeful, forward thinking.

Questions don't easily die within me until they're answered, and so being able to write a song and put words to complex feelings is part of my process of understanding and letting go of things.

Yo La Tengo were a major inspiration for me because they're one of the first bands that I got into on my own, separate from my parents, when I was in high school. I have all their albums. That's the place we'd like be in someday.

That's my main complaint with Murakami: that he writes these complex males and then really static women.