What would you name as some of your musical influences and inspirations? Maybe from genres or backgrounds that people wouldn't expect as much from listening to the record. Arone - Taking a shower is inspiring. A lot of thoughts can be had while becoming a cleaner you. Also, running can be a good way to work out a melody. Some of the most exciting soundbursts to become known to me lately are Extra Life (NY, unfortunately disbanded), Father Murphy (Italy), Flying Lotus (LA), Death Grips (NY), SchnAAk (Germany), Staer (Norway), Broken Heart Collector (Austria/Slovenia)... just on the tip of my tongue right this second... Death Grips has that urge, Flying Lotus has that depth, Extra Life was so demented, SchnAAk is a flame-licked fighter jet of life diving into the soft earth of my ... Basically, they all mean heavy business, and that inspires me.

I personally hear a lot of influence/similarities with the Yeah Yeah Yeahs, a band that I have loved for a long time. Do you feel like that comparison is apt, why or why not? Arone - No. Yeah Yeah Yeahs are a bit more straight-up blues/punk, with a very raw edge. I’d say you probably think we compare because of strong female vocals, and potentially, the feeling of power is translated in a way you can relate to. I, personally, find Karen O’s vocal style to be a bit whiney and overly sexual. It works for her, and I appreciate what she does, but I don’t see the musical resemblance.

I, personally, find Karen O’s vocal style to be a bit whiney and overly sexual. It works for her, and I appreciate what she does, but I don’t see the musical resemblance.

I read that you used to work in Red Hook, what drew you there? Do you think the larger Brooklyn scene influences your music? Arone - I had moved to Red Hook years ago because it was cheap, and it didn’t matter to me that the train wasn’t convenient because I rode a bike instead. We practiced in Aron’s basement, just outside of Red Hook, as Hominid (‘01-’03) and as Buke and Gase (‘07-’10). The “Brooklyn Scene” seeped into our collective musical sensibilities in the early 2000s, when DIY loft venues, masked bands and speakeasies were the key to a good time. Music seemed to be much more exciting!!

Lightning Bolt (duo), Flying Luttenbachers, Japanther (duo), Pink and Brown (duo), Yeah Yeah Yeahs (trio), Arab On Radar, TV on the Radio (at that time: duo!)... all these bands (and sooooo many more) were trying to light a million violent explosives with a limited number of matchsticks, and succeeding. Two-member multitaskers, Three-member absolute destruction of soul and eardrums, Four doing all that plus adding theatrics, and all loud, abrasive, mysterious, awkward, party-time, different... all within the intensity of a show... Nothing you’d hear on the radio... unless you listened to WFMU (all hail). It was an experiment of gravity. ‘How heavy is your intent?’ That’s what really seemed to matter, what really made the difference. This is what we loved and still carry with us from that time/space/scene: our intent.

As far as Brooklyn and the way space and place influence sound, do you think getting out somewhere else to record the album was a key factor for this record? How did being somewhere else affect the process? Arone - Being away from the constant hustle of NYC and Brooklyn afforded us time, space, and perspective. Sometimes we think it made us slower in our process, but most of the time i think we were just relaxed, which is a nice thing to feel. This absolutely influenced the sound of the record, we were in a big echovious room, so we wrote big echovious songs. With intent.

Do you have a dream venue you'd most love to perform live at? Or a city? Arone - Sentimentally, it would be highly redeeming to headline a sold-out show at First Ave in Mpls. (Every word in that sentence is Key.)