"Oh man, that's just a classic record. I listen to it now when I'm composing, because it's very atmospheric. I think that's Brian Eno's shine. I like the lead guitars on it and the way Bowie plays the guitar. A one-of-a-kind I think - it doesn't really sound like a Bowie album. I met him during a pre-break-up tour, and I asked him, "Do you play rhythm in 'Sound And Vision'?" because I love that rhythm. So I was on the side of the stage with his guitar tech and when he started playing the song, he lifted the guitar and looked at the guitar tech and me and went, "See!" The guitar tech turned up his guitar because he thought he needed to check if the guitars were in tune. But Bowie had this signal, he said, "Turn it up for Joey!" And I thought, "Shit, he is playing it!" That was very cool of him, such a nice guy."

"The other record I got into listening to at my friend's house. A lot of the records on the list were discovered around a two to three year window, at a time when I was really turned on to music. I was actively hungry, and reaching out, digesting what bands people turned me on to. I think the first Black Sabbath album I heard was actually Vol. 4. I always discover things way late, after the fact. But that's fine, I guess I like the fact of being kinda late to the party. But when it got to me, it really stuck. It's another record that I find very close to perfect. There's a heaviness and a darkness to Sabbath which I often cite as a direct influence to our sound. You can trace the bloodline, and I think you could say that of a lot of Seattle bands. Sabbath are also a very visual band, but in a different way, a lot more visceral. I've read interviews where Ozzy was saying they were trying to make horror film soundtracks, and that makes sense to me. Cause the themes were always pretty dark and pretty bleak, and they pulled their punches thematically and lyrically. Tony Iommi is also one of my favourite guitarists and very influential to me."