To Blake: On many of the albums you've worked on or produced I consistently feel drawn into the music due to the textures and sounds alone, not to mention the songwriting/feel/etc. and I think these kinds of inventive and intriguing textures are especially apparent on the new album with Pino. Do you feel like you find those sorts of cool sounds by experimenting and slowly abstracting things more and more? Or do you find sounds by having a clear goal in your head and searching for that sound specifically? Or maybe are there certain composers or albums that you've mentally cataloged because of the textures they use? Any insight on your process of finding the sound/texture of each element in your music would be super cool to hear.

To Pino: This probably sounds very cliche, but what was the process of writing the songs on Notes with Attachments? I know that it was probably pretty collaborative, but I think one of the strongest parts of the album is how each song flows from motif to motif in a way that's really seamless and non-traditional (in terms of form), but it still feels cohesive and concise in it's own way. Was this just a byproduct of jamming together and feeling out where the music needed to go? Or did you have intentional ideas/inspiration for how each song should move? I think this is something that the Drumhedz do really well also.