Combining passionate intensity with an undeniable melodic maturity, Seattle's The Myriad present a fascinating sound reminiscent of the grandiose fearlessness of Muse to the energetic dance rock of Franz Ferdinand. With an eye on reaching epic magnitudes while still maintaining a deeply personal substructure, Jeremy Edwardson, John Roger Schofield, Steven Tracy, Jonathan Young and Scott Davis have crafted a stunning album in their 2005 Floodgate release You Can't Trust a Ladder. Steven Tracy (guitar, keys) introduces us to their realm of inspiration, creation and motivation. Welcome to the sound of the future.

Serendipity Media: How would you describe your sound to someone unfamiliar with it?
Steven Tracy: I think a starting point with our sound and influences begins over in Europe. The music coming out of there really resonates with us sonically, emotionally and aesthetically. If you look at the charts over in Europe, it is so diverse and leaves a lot of space for what "pop music" is. Here in the states when you mention pop music, there is a definite connotation of illegitimacy, an almost manufactured feel. We love the freedom it brings to think that we can be pushing boundaries while still being aware of things like melody and hooks. Like it or not, when you're a signed band, you are mixing art and commerce. We want to find a way to be good at both without compromising the band's vision.

Your full-length debut, You Can't Trust a Ladder, came out earlier this year. What was the process of assembling your first album?
The process was us holing up in our studio and releasing 3 albums on our own while touring as often as we could. We certainly learned a lot through that time, whether it was developing the sound of the band or learning how to fight and disagree with each other well. We're a pretty collaborative band, so having 5 guys who are good at what they do and have strong opinions definitely brings in a dynamic of friction. The friction that comes out of those times is definitely a contributor to the end product, but the process looks a little different every time.

How did the opportunity to work with Aaron Marsh come about? What was it like to work with him?
When we signed with Floodgate, we knew we needed someone in an objective role who could be direct with us about what the song needed. We were used to working with each other, but, like I mentioned, we had been playing a lot of these songs for a while and needed a fresh set of ears. It was serendipitous in that the band and Aaron had a few weeks off at the same time and Aaron's manager suggested it to our label. We met with Aaron to discuss the idea and hit it off. We told him what we were looking for, and he laid out his ideas. You never know how it's going to work out, so we're thankful of how it all came out. We're a pretty ambitious band, and he was right there with us pulling the 18 hour days and sleeping on studio sofas to make sure it got done right.

Where do amazing songs like "Stretched Over" and "Perfect Obligation" come from?
First of all, thanks for the kind words. Both songs stemmed from basic chords, and evolved as everyone started bringing themselves to the song. That's how The Myriad works typically, and those two songs are great examples of the sum being greater than all of the parts. There are those moments in rehearsal or in the studio when someone in the band plays something, hairs stand up on end and we just look at each other like, "Yes! That is the direction." We've all played in other bands before this, and we all have talked about how excited we are about what this band can do. It's like this is the band we've waited to be in our whole lives.

Can you name a favorite song on the album?
That's a tough question, mainly because we're in the middle of writing right now and are so excited about what we're coming up with. It's too easy to relax on the writing process while we're touring, so we're doing our best to keep creating even if it's in a hotel room, soundcheck or the back of the van. We're really looking forward to playing some of these new songs live.

What would you consider to be some of your main influences musically?
We listen to an absurd and eclectic amount of music, but the music that is really pushing us right now is Kent, the new Rob Dickinson (Catherine Wheel), Radiohead, the new Sigur Rós, Eisley, Lovedrug, Coldplay ... and we can't wait for the new Ours release.

How did The Myriad get signed to Floodgate? How has that experience been so far?
We played at Cornerstone Festival a couple of times where we met them, and started talking with them around this time last year. We talked about our vision for the band and it seemed to line up with what they wanted to do as well. Everyone over at the office is amazing and we count ourselves fortunate to have their support to create what we love.

How has all the touring been treating you? Any surprises along the way?
Touring is great. Either you love it or hate it, but we love it. It's not that it doesn't have its fair share of difficulties, but ultimately we love that we're in a different city every day playing songs we love and meeting other people that are as in love with music as we are.

What is it that you hope people will walk away from your music having experienced?
There are moments in art, whether it's music, sculpture, painting, film or whatever, where you get the sense of something greater being part of the motivation to create. When you watch a film and the hairs on your neck stand up, or you look at a painting and want to climb inside of it. All of sudden, it becomes as much yours as the artist's. If people leave our shows feeling a sense of connection, of ownership. There is no greater feeling than that for us.

What album is your CD collection embarrassed to be in the same company of?
If the band has had a rough show or a long drive, there is no quicker remedy than popping on Michael Jackson's Thriller or Chicago's Best Of album. We'll all be singing along and pumping our fists in no time. We were all a little embarrassed until we realized that we all loved it!

What's the best thing about being a musician?
Being able to document moments in your life by writing. There is something really special about being able to create your own soundtrack for your life.

And on the flip side, what's the worst thing?
Well ... that would probably be the lack of quality food on the road. However, it makes those home cooked meals seem a lot more special.

And last but certainly not least, why aren't ladders trustworthy?
For us, ladders represent short cuts. The amazing parts of life are lived going through them, not around them. It takes a special courage to walk into a mess, courage that I wish I always had, but ultimately that is were hope and beauty exist. We can find them if we're open to a little battle.

For more Myriad, visit them online at themyriad.net.