For the past three decades, Deerhoof have been one of the most consistently inventive rock bands around. Their seventh album, The Runners Four, remains a fascinating result of a band obsessively recording themselves in their practice space for many months. After Deerhoof first began as a solo harmonica project by Rob Fisk, drummer Greg Saunier joined only one week later. They signed to Kill Rock Stars and soon after Satomi Matsuzaki moved from Tokyo to San Francisco, she became the lead singer. They released their first two albums, and by 1999, Fisk ended up leaving the band, with guitarist John Dieterich joining later that year. Two additional albums followed and after this point, Chris Cohen came on as second guitarist. As a four-piece, they released Apple O’ and Milk Man before turning their attention to their seventh album. This time around, they decided to embrace taking their time recording in their practice space, with each band member bringing in songs they had written. The result was the ambitious concept album, The Runners Four, which was eventually released in 2005. In this episode, Satomi Matsuzaki, Greg Saunier, John Dieterich and Chris Cohen, have an honest conversation about what it was like to be a band on the rise in the Bay Area and the pressure they felt to deliver a timeless record. Saunier describes the hours he spent tinkering with the free version of Pro Tools in a windowless practice space and the toll it took on his mental health. Matsuzaki talks about how swapping instruments with Cohen for this album, brought about a different rhythm and freed her up to sing some interesting vocal melodies. Dieterich describes using the then new technology of Line 6 POD amp simulators and how this approach allowed them to record in the practice space setting. Finally, Cohen describes the band members’ interpersonal dynamics during this time and how he ended up leaving the band after this record. From self-mythologizing and writing songs about the band, to recording in the hallway, to embracing classic rock, to the intense relatability of Metallica’s Some Kind of Monster, to a concept album about secret messages, time capsules and the flood, we’ll hear the stories of how the record came together.