Most of your current songs switch back and forth between being very heavy and very melodic. What is the creative process like?

Dino: "It's almost like a puzzle. We write parts, like we'll write a melodic part and record it on tape. We'll write a heavy part and record it on tape. Later on, we try to piece it together. That's the hard part, piecing it all together and making it all work and flow. That's really hard. It's always been a part of Fear Factory, it's always what we've done, and on this record it became a little bit more natural. The melodic stuff, we wanted to bring it more out. Burton's vocals have gotten much stronger."

In what ways did the technology differ this time around?

Dino: "We recorded this album on 64-bit digital, on disk. So when all these musical technologies transfer over to 64 bit ‹ DVD is 64 bit, Surround Sound is 64 bit ‹ when CD starts transferring to that, we'll be ready for that."

Does the technology ever pose problems, such as giving you so much control that you don't know when to stop making changes to a track?

Dino: "We definitely have a lot of control digitally, as lot of that comes from Rhys Fulber and Greg Reely helping us out. Sometimes you can sit there for hours and hours and hours and get frustrated and you're like 'fuck it.' Then we'd tell Greg, 'I can't do it, you gotta do it. I can't take it anymore.' It does get very frustrating, it's long, tedious work. But I love the technology, I love the challenge. It's become an art to us."