The reason why everything I do is so different is not because I'm trying to be provocative; it's simply a reflection of whatever was happening to me at the time I wrote that particular record.

The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.

People talk about the Ozzfest and what it can do for your career, and I guess I'm just oblivious to it.

I think that religion is incredibly cruel, and I think that my biggest problem with being vegetarian, usually, is other vegetarians.

A lot of people are upset when you work out your anger issues, but there's a big industry for music which is furious and angry because, in my opinion, the world is looking for a justification to feel the same way.

I'm good at what I do but, to be honest, not a whole hell of a lot else!

While I was recording 'Ziltoid,' the movie 'Mars Attacks' came on TV, I think, six times in one week. So I don't know if there's any direct references or anything, but the aesthetics of that movie was definitely around while I was creating the music, so I'd be lying if I said it wasn't part of it.

I'm not a big fan of options, to be honest. The more options that I have, the less time that I spend actually completing things... ultimately, I think, if you have endless choices, I mean, the tendency to just choose endlessly is there, and that doesn't do anything for anybody, really.

As a drummer, I'm rhythmically so disabled that it's hilarious.

My dad's side of the family were calm folk from England, but the other side just loved to party. Somewhere between those two factions is me.

Not only was it Def Leppard I was into when I was 15, but 'Watermark' by Enya. I loved it.

One thing that's really important for me to be creatively motivated is to find an angle. Some people refer to that as a concept, which it is, in a sense, but not overtly. It's just something I need to focus and hone in on, and the trajectory of what might be seen as a 'concept' gives me creative momentum.

I think that when I got to a certain age, it was important to me to sort of analyze my relationship with myself and my past.

Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.

The reason Strapping Young Lad was such a good band was we were honest about what we were doing.

Enya was a huge deal for me. That kind of woman vocals and how wide those productions were.

As a vocalist, I can scream, and I've got a really good singing voice, but I can't do the really heavy vocals.

When I was going to high school, in the high school band we would play these kind of hour-long concerts for our parents. All the parents would come to the gymnasium, and the band would play an hour-long kind of orchestra piece. 'Synchestra' is supposed to be similar, like a high school band orchestra piece.

I've been a workaholic for many years, but at the same time, I do it because I love it.

I like it when it rains; I like it when it snows. I like seasons. I like trees. I like mountains. I like rivers. And with that around me, I write.

I was born in Texas, you know. I was born in Houston.

I love Meredith Monk, and with Instagram, I get a chance to see if she has a cat, and what's she reading.

I practice Rasayana Buddhism.

The first paid show was in Los Angeles at an art opening and I was paid maybe, I don't know, twenty five bucks?