Late last month, the LA-based DIY purists released their second EP in under a year — “Forgive Me,” — on Sunday Drive Records. Screeching guitars, mellow synths, meandering strings, controlled distortion and soft yet jagged vocals sit eager to greet new listeners. They might be brand new as a band, but the decisiveness of their process and the tightness of their sound leave no room for speculation: Starling is here to stay.

Recently, Starling’s Kasha and Erik were kind enough to answer a few of my questions about the band and their new EP.

YY: What was one main lesson learned across the group through the creative process for this EP?

S: We learned to listen. We had each previously been in charge of our own musical and creative projects, so it wasn’t entirely natural for any of us to step away from the role of the leader. This process pushed us to take ego out of ideas and put what was best for the song and the album above ourselves.

Is there anything you might change about the recording process looking back, or do you believe it was the only way you could have achieved the sound we hear on the final product?

Erik: The resulting sound of a record is a demonstration of what tools people had on hand and how they used them. We used computers, guitars, amps, drums, and intuition. If I were to change anything; each piece of gear would’ve been from the 70’s. Even the computer.

Kasha has said she tends to think that “any artwork and writing does not come from the actual person,” and that the band is merely a vessel. How much of your creative process do you think demonstrates this idea, and when do you decide to be more intentional?

Kasha: I think this idea about the art coming through applies mostly to me in the process of writing a song before I bring it into the group. Once we start to dissect it and configure it to be a Starling piece, the structure, tone of the instruments, dynamics and all are extremely intentional.

This EP was mixed by Erik and mastered by Greg Obis (MJ Lenderman, Wishy, Duster). Were there any realizations or surprises that came out of the mixing and mastering process?

Erik: No surprises that I felt. The reward of mixing isn’t the end product because you’ve already listened to the song over 100 times while mixing it. I like spending the time thinking of ways to make a mix abstract.

You’ve said recently that this EP “feels like a transition; for the band, and the sentiment in the music.” If Starling is in a transitional state, where is the destination, at least for now?

I think what is nice about Starling is that we are feelings-based. Feelings are fleeting so it’s hard to know what will be brought up in the future. We are constantly working on new things and would like to keep writing, record again soon, and get on the road as much as possible.

As you hit the road supporting Glixen this summer, what’s something listeners should keep in mind before listening to this EP or coming to see you play?

Erik: That you’re going to see four very different personalities working together before your eyes for an extended 30 to 60 minutes, and that will end up being music.