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We laugh about the '80s stuff, but it was so taboo and cliché to do those kinds of guitar riffs five years ago. But for some reason now is the time to bring some of that back. Maybe it's because there's a whole generation that doesn't know that stuff.

I find it cool because I grew up playing in metal bands. I hated my voice though, because I couldn't sing really high like that. But when Eddie Vedder and Pearl Jam came on the scene, that just changed everything with that issue. I was really happy about that.

BenI'm 19, so I missed the whole '80s metal thing. So this is really the first time I've heard this kind of music. I grew up listening to bands like Tool, and they're pretty metal from what I understand.

I'm really glad to be a part of this music—it's all new to me. Like the "squealing" effect is so cool, but John's like, Man, we've been doing that for years.

JohnThere was one particular thing Ben was doing on guitar, and it was almost like he thought he discovered something. It was his toggle switch. You know, that "aa-ehh-ehh-ehh-ahnn" sound, and I'm like, "Yeah, Eddie Van Halen!" Ben wondered what I was talking about. Needless to say, it had been done before he "discovered" it.

Any bands you're listening to these days that you weren't listening to a few years ago? Anything that might be a new influence or a sound you appreciate more?

JohnI've been buying a lot more hard rock.

LoriI just try to listen to albums with drummers I really like. Especially when we're in the studio. I started listening to Nirvana again, because I really love Dave Grohl. Same thing with Live, they also have one of my favorite drummers.

What makes a "good drummer"?

LoriWell, Korey always describes me as a "feel" type player. It just seems like Dave Grohl and others I like aren't the kind who would sit down and write a drum part for a song. I hear the music and then come up with something that fits with it, and I think guys like Grohl do that as well. It comes across that way at least—in a good way.

KoreyLori will literally be in the studio, she'll do a fill, and not be able to play it again. Then she'll have to practice it as she tries to remember it again. She just feels it, does it, and nails it.

JohnI'm the opposite of that …

(Long, uncomfortable pause … then the band breaks out in laughter because they know it's true.)

BenWhen I joined the band, I was into the Dave Matthews Band and some rock stuff. But I never really thought much about the song structure, or how the thing that always stays the same—throughout all of the trends—are truly good songs.

John taught me the most about the structure of songs, and he listens to a ton of pop music. I don't really like pop music, but some many of the songs are so good that I've learned to appreciate that. Especially on this album, John's been able to create songs that really work with today's hot sounds.

JohnI think part of that was our producer. Paul [Ebersold] really pushed me. He was good on many levels—songwriting mainly. He has a good respect for older rock bands and is able to distinguish between cool old rock and cheesy old rock.

Paul was a great thermometer for that element of the album. He was extremely important in really making this record work, and we're excited that it turned out the way that it did.

For more about Skillet, visit our artist page for the band. You'll find past interviews and reviews there, including our take on Collide. To listen to sound clips and buy Skillet's music, visit Christianbook.com

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