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

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.

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.

I have a job - it's a great job, and I love doing it - but I can't not work. That's not psychological; that's practical.

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.

In Strapping, I had experimented with a creative catharsis under the assumption that art doesn't need to be accountable for itself, but I found out in very practical ways that you are accountable for everything you say. Everything you write, everything you do becomes not only your identity but your world resonates with it.

The way that I write is I just write a ton of music in the background of my life, and then I just bring it into rehearsal. It's, like, 'Okay, guys. It goes like this. Let's smooth it out.'

Because I have been so pigheaded and so selfish about so many things for so many years, I've spent a lot of time being, like, 'That person needs to change. This person needs to change.'

The thing is, I'm equally disgusted by both men and women.

Human beings are gross.

Strapping Young Lad is a vehicle for me to be wild and extroverted and ridiculous. It gives me the chance to say, 'Look at me. I'm a heavy metal guy. I'm Rob Halford or Bruce Dickinson or whoever.'

I don't deal with conflict well, so sometimes things will happen that will make me feel sort of powerless. But instead of being able to actually deal with the problem, I just suck it up - that's the way I was raised. Music, then, becomes my one avenue for letting things go, and when I get the chance, I let it rip. It's like therapy in that way.

As someone whose music is connected to his personal growth, I feel an obligation to follow this muse wherever it leads.

If there's anybody who's new to what I do, who maybe heard 'Liberation' or some of the songs off 'Epicloud' and thought, 'This is really cool, I could get into this,' you're going to hate 'Casualties.'

I just go where it feels the most honest to go; then I deal with people thinking it's weird afterwards.

Basically, when I did 'Infinity' in 1997, I had thoughts in my head that left me with a lot of questions. I've gone to certain personal limits with 'Infinity' that, at the end of it, I think, scared me. And I've made a lot of really kinda bad mistakes as a result of that.

I think that, as well as Strapping Young Lad kind of having the name for themselves based on brutality and aggression, I think there's also something to be said to the fact that every Strapping record is different. They're all different.

Sometimes I'll be writing something, and I say to myself, 'Okay, that's definitely DTB,' or, 'It's definitely Strapping.'

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'm doing this record called 'Epicloud.' Over the course of the full record, there's sort of new agey stuff, jazzy stuff, really heavy stuff. We basically cover the gamut.

'Epicloud' is the first record that I felt confident enough to include all those things on one record, so it goes between melodic hard rock to schizophrenic heavy metal to country to really ambient stuff, and it's all in one place.

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.

I really like the art of music, the way that you can express yourself through music.

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

I'm really into music, I'm really into art, and I want to keep that fire alive.

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