For Sam Hales, The Jungle Giants third album always needed to be something different from their first two - what he didn't expect was that his whole working philosophy would need to shift to make the change.

"The process was completely different. That kind of shaped everything else to change. I would say more time and thought went into everything but with a more relaxed attitude. In terms of the process, I started doing nine to five, as opposed to writing here and there," Hales explains.

"I kind of reshaped how I write and that changed how I look at things, in turn, it changed how much I output as well. What I was doing was I was starting at the same time every day and working on a song until I didn't know where to take it.

"I also screwed off that idea that it's 'delivered down to you' from some exterior source. For me, I fucking hate that. I used to definitely think that was the case, and so I was less responsible for my own output, so I could be like, 'Oh, fuck today then because nothing is coming to me,' but then in terms of how I matured was like, 'Well, I'm responsible for what I'm putting out so if it's a shit day at least I'm doing something.'

"I was just able to push it every day, and then even if it was for nothing, I was being easier on myself. Just kind of getting back to playing around. It made me really happy."

Quiet Ferocity marks another change for Hales. This time 'round he took total control and took to the producer's chair for the first time. He enjoyed the process so much that he now wants to work with other groups.

"Yes, I would love to do that! I love that. Heaps of my favourite bands, writers, they do their own production. You can always tell, too. Chairlift's Patrick Wimberly, I love that guy because he's an awesome writer, awesome producer, then he does this really cool thing for other bands. It's not always specifically what he would do for Chairlift but you can tell there's an angle he's bringing. I like that.

"What it used to be was all writing for me then I would think, 'Aw, screw the production, that's just another thing.' But then after a little while, I realised that it has to be happening at the same time for what I want to be doing now, or else it's just all up in the air.

"It took me a while to figure out how to slow down, so I could just be like, 'Oh well, I know this song needs this ride sound.' But in the past I would be like, 'I'll just do that later.' But then now it's like, 'I have to do the ride sound because it's going to dictate what's the next part,' and so I love that and that's just another thing that I love doing now."

Hales and the band will be taking Quiet Ferocity on the road this August and September. Previous tours weighed on Hales heavily during the recording stage, as he tried to create an album that translated just as well live as in studio.

"We've already started rehearsing it and it is freakishly easy for some reason, which feels weird to say. It feels like I'll jinx it.

"Every record we do, it's then like you just have to go figure it out again, but with this one there was one thing I had in mind when I was writing it. A lot of the production I was influenced by was from writers that condense, you could have like 15 guitars but actually you can make one guitar louder and more effective, so playing with that idea about just condensing things and maybe just say, 'What's the thing that's making all the things good?' And then slowly starting to take out the things that don't.

"It's all seemed to work and click and it doesn't seem like it's going to be a big shit fight. Like with Speakerzoid, we had to add a touring member. And for the first record, we just had to figure out how to do anything," he laughs. "But then with this one, it's more just, 'Aw, cool, we have the set-up, it's perfect, we just have to learn the parts properly.'"