I feel like the rap metal at the end of the 1990s destroyed rock music for everybody and suddenly everybody felt like they had to apologise for being in rock bands. People suddenly felt bad about wanting to reach massive audiences and the sense of theatre, that we have in our live show, became something to avoid.
I picked up 'The Hunger Games' thinking it was written at my regressed reading level. I've spent hours reading it, and I'm not even halfway through. Our bass player, whose name is also Nate, ended up reading all three novels and loved them.
I kind of like being depressed.
I think it's really cool, but Jimmy Eat World and Gin Blossoms did it better than anyone. People don't realize just how awesome the Arizona history is, especially for alternative music. Growing up, that's all I ever wanted to be was those two bands.
I was in a really crummy pop-punk band. I think we did a whole bunch of Blink-182 covers, and we were on the fringe of losers and jocks. So we invited all the cool kids to come watch us play in our bass player's brother's bedroom. And it was terrible, but everyone thought we were so cool.
We have this really retro vibe and style of songwriting and, personally, I wasn't embracing the current state of music until I fell in love with hip-hop. It felt good to suddenly embrace where music was headed, and I think hip-hop is the best at that, because it feels so progressive and everybody wants to be the best.
Van Morrison is probably, at this point in time, my biggest influence as a vocalist. When we were making our last album I had a vinyl copy of 'Veedon Fleece' in the vocal booth in front of me, in the dorky sense. I think there were candles around, which is really tacky, but hey, I needed to channel Van the Man!
The Queen and Electric Light Orchestra harmonies are so distinct and fit in our songs so well sometimes, but we don't know how to do them properly.
I don't play an instrument - I just write in my head, and I usually hear fully formed songs. 'We Are Young' turned out so much like it was in my head. But it also exceeded all my expectations.
Lyrics are so important, I hate every second of writing them, but it's something I take great pride in when it's finished.
We love a good, hyped sound, but when it starts to sound insincere, that's when I lose interest. I hope that our music, even if it sounds polished, doesn't sound insincere.
As a songwriter I hate this whole, 'If it's a sad song, it has to sound like a sad song thing.' And that goes all the way back to my days with the Format. I'm an insane narcissist, so if I have to get something off my chest, I'll get something off my chest.
Lately I've been falling asleep listening to 'Common One' by Van Morrison, specifically the song 'Summertime in England.' It's 15 minutes long, so to make it through the entire song is a real task unto itself, but Van has that emotional payoff that makes even his most tiresome songs more powerful than most people's entire catalog.
I idolised bands like Pearl Jam and Smashing Pumpkins, who wanted to reach as many people as they could.
If you look at a lot of the songs I've been involved in, there's always been this retro vibe. I started getting worried that I wasn't moving forward very much, nor was I even in tune with the music today. I almost scoffed at it.
