A look at the tracklist and you’ll see titles like “A Deep Slow Panic,” “Anxious” and “Heart Stops” and you get a sense of the world that Havok was living in and why perhaps he couldn’t wait to get out of it.

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When colleagues don’t communicate a decision until right before a deadline, it can wreak havoc on your workflow.

You can use this type of approach to set standards for communication with your colleague: I’ve attached the proposal for the work we discussed.

“It wasn’t that I didn’t want to make it personal,” Havok told a few weeks before the album was released.

Which is certainly a good thing, being that Havok has made a living out of venting.

In a note to fans about the recording process, which touches on working with producer Gil Norton (The Pixies, Foo Fighters) for a few short weeks in the same studio where was recorded, Havok writes: “Therein we played and sang and gave all of ourselves to the creation. They worked til the small hours of the morning – 7 days a week – even on Gil’s birthday…Amidst the tension, we realized our 13 songs of Burials.” But Havok isn’t precious about the music and asks fans to take these songs, these terrible memories, off his hands, ending the note with the message: “They’re exactly as we’d hoped, yet they’re no longer ours.

Take them.” Havok has always felt that the songs belonged more to those who listen to them then those who made them, but this time around he was even happier to give them new ownership.

When we uphold religious diversity at work — including the absence of religion completely — we stop them.

When you and your stakeholders don’t see eye-to-eye on the timing of communications and deadlines—stress happens. The challenge for leaders is that if you don’t set expectations, your stakeholders will.

“Certainly, I hope that everything we create, that the people who appreciate what we do can appreciate it on a personal level and take something from it that they need,” he explained.