MORGAN Y. EVANS: I've been listening to Nadja's Desire In Uneasiness five song EP, which has, like, 18-minute tunes, more moods and textures than "songs". It made me think of Glint in that, while they are a lot heavier at times, there's still a lot of ambience and space maximizing the "feel". I wondered what you'd say to this. I think it is very much a singles market these days again, ironically, since downloading was supposed to "free" us from corporate control. But, even if it is focused on one song these days, I think even your "singles" are like worlds within worlds. Not that I don't want to hear more, but each song feels like an experience in itself.

JASE BLANKFORT: Although it seems the general populace has grown impatient with music over the years, I still believe in staying true to the integrity of each song. In spite of the current single-orientated marketplace, If we're going to release an album, its going to be an album. Sound In Silence is an existential record paying homage to all temporary cells in this infinite universe. Each track is integral to that as a whole. Music is limitless and eternal. I've seen many bands denote themselves as a particular genre, or claim they're this meets that, to me that's really losing the point and very restricting. When I write, before a song is anything, it's an empty canvas. Yes, I hear it, but in order for it to exist, it needs an environment to breathe. That's probably where the ambience comes from. It furthers with each stroke of sound. It's always there for me, I just have to sit down and grab what I can. Each track should be a world within worlds or it doesn't need to be on the record. Glint is less of a band and more of an art project. To be a band, there are certain requirements we're not willing to make. We have no boundaries in anything we do, from creating the music, to releasing it, to playing it live.

MYE: You created your latest record, Sound In Silence, at a winery, am I right? How'd you trick your label into springing for that? "Yeah, we need to make this next one at an all girl nudist colony in Brazil, you know?" How did the locale affect your music?

JB: In the preliminary stages of putting the record and all its pieces together, our primary objective in finding the right environment to create was to submerge ourselves in complete isolation and the 1000 plus acre wine vineyard did just that. Besides having an incredible bottle of wine here and there, the winery had no effect on the process. What did was waking up each morning, having tea outside with a 360 degree view of endless mountains. During the entire period not one of us left the mountain.

MYE: What role has having Alon Leventon join the band played in this new record? How did the direction of the new record come about?

JB: For me meeting Alon furthered the principles of creating with endless possibilities from a writing perspective. Within the first moment we played together I knew we spoke a similar language. After Mat and I had met him and Dave, I began to write the music I had always dreamed of writing—just never had the right group of people to do it with. We played a lot of new material live, but it wasn't until a few months ago Alon and I had begun recording and experimenting in Williamsburg. After a few sessions it was clear we had to produce this record. Alon has produced other artists, I've only produced for Glint. Working together is effortless, bottom line it works. That's it.

MYE: How did avant garde artist Mark Kostabi become involved in the sort of lucid album artwork of a figure in repose in a forest as the sun either sets or rises?

JB: Both Mark and Paul Kostabi are close friends and supporters. Two of the best contemporary artists out there and polar opposites. Paul did the record before, Mode To Joy. Mark did SIS. The figure on the vast expanse of SIS is you, me, your editor, the intern, all of us.

MYE: The drums in "Alone In The Cosmos" are very cool in that the music is expansive, almost reminds me of a spacier Secret Machines tune, and then the drums hammer in. They are recorded like they are echoing in a subway or something. It is very startling! It makes you feel like it is a sudden revelation hitting your consciousness.

JB: I'm glad you feel this way. [laughs]

MYE: The music video for "Something More" from the new album is striking. The song, too. The viewer sees you, Jase, and you're not unassuming, but then the voice comes out of you and it sounds almost like Ghost-Gospel or something. Awesome. It makes me think of like, the extraordinary that sort of rests behind every moment. Like, the Universe is so multi-faceted. And the song theme also, seems to be about cutting through all the confusion we feel and holding onto the things that matter to you or between you and someone. Great song.

JB: Yes, and thank you.

MYE: Jimi Hendrix once said something like, he tried to play colors. Your songs, like Sigur Ros also, sometimes, there's this expansive feeling, like...I don't know. I was hiking yesterday and saw this amazing completely frozen really fucking blue huge waterfall and was thinking how great it would be to capture that feeling in a song, that stark blue and the cold and the white.

JB: There are many overlooked beauties in this world. Brian Eno said it best, how pure beauty can often come from shit. I couldn't agree with that more. I feel my job is to document and present it. I like to make ugly things sound pretty. Find the hidden beauty. Glint is the journey from darkness to light.

MYE: Your music is very transformative in that it can bring the listener to very contemplative states or build on you like a...not to be heavy-handed, but like a religious feeling or meditation or awakening. There's a calming, yet suspenseful feeling in it. How do you feel about transforming the music, itself, like doing different renditions? I know you did an acoustic version of "Boy Of The Stars" on Matt Pinfield's radio show recently.

JB: Every night I take a Glint stage it is a religious experience, a kind of momentary flash. And not in a formal, religious way—in a possessed way. Although to be honest, I can't support religion. It’s taken too many lives over the past centuries.

MYE: Back to music videos, I was thinking of how Tool used to never show their faces. Now bands try and plaster themselves everywhere, more than ever before, perhaps. You can't blame them in some ways, but also, I guess, with the ability to market one song immediately online these days, how important is persona?

JB: The last thing that we'd want to do is limit the music to four caricatures. We celebrate the music and its listeners. At shows, it's the crowd that deserves the lights.

MYE: What would you most hope that someone can take away from a listen to Sound In Silence?

JB:You're not alone.