“You have to remember that on these albums it was just Billy and I recording - James [Iha] and D’arcy [Wretzky] did very little in the studio.

“As a drummer you have to use an incredible amount of imagination to guess what other things will sound like. There’s a lot of talking about the intent and looking at the lyrics. This was a massive undertaking. It was just what we did. From the outside looking in, we were in a cave for six months and we came out with this massive piece of work, and you might think it was a torture chamber, but it wasn’t really; it was just what we did every day.

Flood made me think out of the box. Some days I’d show up and all of my cymbals would be missing and he’d want me to write a drum part without any cymbals

“Some things were more difficult than others but when you listened to this stuff you knew why you worked so hard. We worked with Alan Moulder and Flood on this album and Flood had a totally different opinion of the drummer’s role than Butch, but in the best possible way. Flood challenged me to become something different.

“It taught me that you have to evolve. Flood made me think out of the box. Some days I’d show up and all of my cymbals would be missing and he’d want me to write a drum part without any cymbals. Flood might choose drum takes that I didn’t even think were that great.

“There are imperfections in there and Flood taught me that it’s more about the vibe and the emotion than something being right or wrong. We knew Tonight, Tonight would be a big song for us. I had wanted to use that kind of orchestral, marching groove and I had that clave hi-hat part in my back pocket from guys like Alex Acuna.”