So Aperture marks your return to self-producing after over a decade. What inspired you to reclaim the production reins for this one?

Kenny: I feel like every album is usually a pendulum swing from the previous one. After making Every Shade of Blue, what we were really hungry for was getting everyone back together, writing in a room again—not watering down the six ideas.

We had worked with producers on the last three records, and whether it was because of them, or the pandemic, or just living in different cities, we started to feel further apart during the creative process. So, I think we really wanted to return to how we started: the six of us wearing multiple hats—producer, writer, arranger. We were all kind of firing at the same time and felt it was the right moment to keep it in-house.

Right. You’ve mentioned that this record is about “letting the light in.” How did that metaphor shape the sound and lyrics of the album?

Jon: That’s been a general theme. Like I said, going through COVID, being bi-coastal—it was really difficult for a few years to work together in a way where everyone felt ownership over the songs and the record. But when we came back together—deciding to trust each other again and be collaborative—it was, in a way, already letting in a lot of light. A lot of goodness and positivity. So lyrically, that mindset shaped the record.

Kenny: Yeah, and someone told me the other day that this feels like a Head and the Heart record about The Head and the Heart. We kind of chuckled, but it’s spot-on. There’s more conversation between us as bandmates and friends. We’ve known each other for 15 years now, and that shared history inevitably intertwines in the songs. Sometimes I hear a lyric and think, “Is that about me? Or about Charity?” And I don’t always want to know the answer—but it means we’re in tune with each other.

Did the dual home bases of Seattle and Richmond influence the vibe of the record?

Jon: That’s a good question. I think in a studio sense, yes. We were comfortable in both locations—Lithio Studios in Seattle, where we recorded the first album and Let’s Be Still with engineer Shawn Simmons, and then a studio in Virginia with Mike Reina, who we also know well.

It wasn’t so much the environments of Seattle or Virginia themselves, but more that we were in familiar spaces—not big-name studios with intimidating vibes. That helped us relax, stretch out, and take our time.

Kenny:
Also, those first two records were self-produced because we all lived in the same city. It just happened naturally. Once we spread out geographically, we needed outside help just to stay productive. This was the first record where we made the conscious effort to get back together again and do it like we used to. We did more trips than usual, spent time writing in real time, and eventually realized, “Hey, we don’t need a producer this time.”

Fifteen years into your journey, how do you stay creatively in sync as a group?

Jon: I don’t know that you always do. I think it ebbs and flows. That’s what shapes the sonic differences between albums. Some of my favorite bands—Tom Petty, Radiohead—you hear big scene changes in their catalogs. We’ve kept almost the exact same lineup for 15 years. The chemistry changes as the relationships do. It’s very human, very imperfect—which I think makes for great art. And again, that’s part of why we didn’t want to work with a producer this time. We’re closer now than we’ve been in a long time, and we just wanted to focus on that.

You’ve navigated indie beginnings, major label peaks, and now a new chapter with Verve Forecast. How has your idea of success evolved?

Kenny: For me, success is feeling truly proud of the work we’re producing and feeling connected to it. When I’m not, for whatever reason, it becomes a real struggle. Everything is just better and easier when there’s that connection.

Jon: I was thinking about this today. For a long time, my identity was wrapped up in this band—how big the stages were, what milestones we hit. It got unhealthy. Lately, I’ve been trying to enjoy life in a broader way, and oddly enough, I feel more successful now. This is one of the best records we’ve made, and I’m gripping it less tightly. Success now is about letting go, trusting the process, and just being a happy person—independent of how well the record does.

This album feels like a reset. Do you see Aperture as the beginning of a new era for The Head and the Heart?

Jon: Yeah. We even joked about calling it The Head and the Heart 2. It’s our sixth album, but it feels like a sequel to our debut—like we’re back in that mindset of trust and creativity. It’s a new chapter for sure.

Kenny: Totally. There’s an ease in how we’re handling things now. It feels right. It reminds me of when you see a seasoned basketball player, like LeBron, smiling and having fun on the court. I think we’re finally at that place as a band—still passionate, but also just enjoying it more.

What would you say to a band just starting out—maybe in a similar spot to where you were?

Kenny: Early on, we got advice to just stay together—no matter what. It’s simple, but true. There were times I wanted to quit, but I kept coming back to that. Like any relationship, there are hard times. But the joy really comes from the art, from making something real with people you care about.

Jon: Yeah. And if you’re someone like me who’s obsessed with the next song—take time to enjoy the one you just wrote. See how it impacts people. Be present. That’s something it took me a long time to learn.