Jake Sinclair wears a suit to work when producing Weezer's forthcoming album. Although what he refers to as his day job rattled the rock world this past week with the official announcement of Weezer's tenth studio album, Jake can't quite hide his excitement regarding his part in it, taking fractional credit for Rivers Cuomo's beard and the album's supposed nostalgic sound. After all, he was the one once in a Weezer cover band. And now he's producing The White Album.

However, when the suit comes off, music sounds a little different for the Grammy-nominated Taylor Swift, Fall Out Boy and 5 Seconds Of Summer pop producer - a little more broken and a lot more tropical. In a side-project titled Alohaha, Jake and ex-girlfriend/poet Lyndsay Thornton, decided to turn their angst and pain into something productive, by forming a dual-inspired Hawaiian-themed break-up record.

But although an exceptional sonic success, the project also went beyond the estranged couple's expectations. It brought them back together.

Tell me about the inception and how Alohaha was all formed.

Musically it's mostly me. The girl that's singing on the record is my friend Morgan from the band M83. My girlfriend is actually responsible for most of the lyrics. It was her poetry that I've adapted into songs mostly. We were in the process of going through a break-up and I was kind of making a bunch of sad Hawaiian music and she was writing a bunch of poetry. She's Canadian and lives in Vancouver and has a stomach condition calls gastroparesis. The healthcare is good up there. But we were kind of seeing other people and it was difficult. That was the way that we started communicating again, poetry and music. It just kind of formed musically after that.

Are you still broken up?

No, we're back together. We started working on the music and it got us talking again and we got over things. After I made the record is when we got back together.

That's incredible. Because when listening to the project, you hear the emotion. It's a break-up record. So I'm happy music helped you communicate in order to mend things so that it can maybe do the same for others that hear it.

One of my favourite albums has always been Beck's Sea Change. Usually a break-up record is my favourite type of record but I never thought I would make one. It's usually from the perspective of one person and this is from the perspective of two people. The first song that we put out, 'Welcome To Your New Life' the verses are from a poem of Lyndsay's and the choruses I wrote. So it's interesting. It's from both of our perspectives.

Obviously you've been doing music for a very long time and you're very successful at what you do. But how is this different from anything you've ever done?

For me, with Lyndsay's suggestion - I used to be in an indie, kind of hipster band, it was called The Films and now I work as a sort of pop producer. Lyndsay was like, you need a creative outlet, before I started even working on the record. I realized that I needed to make it completely opposite from what I was working on for it to be the right yin vs yang cathartic release. I was actually producing Fall Out Boy's record the whole time that I was writing Alohaha. It was Alohaha in the morning and then produce Fall Out Boy in the afternoon. I like the kind on opposite aspect of it. And even production-wise, I wanted it to be different from what I was producing. I don't have a voice that's Patrick from Fall Out Boy or Rivers from Weezer or any of the people that I work with. I was conceptualizing it. I wanted to track it all live to a tape machine with no computers involved. It's kind of a completely opposite experience as far as the creation. I recorded all the music in a total of three days. We just played it, basically.

What about for Lyndsay. Has she ever done anything like this before in her life?

No and I don't think she meant to be a part of it. Five or six songs on the record are from her poetry. It just happened so naturally that I couldn't stop it. I think she's really grateful that it worked out that way, but I think that she looks at it the same way I do, that it is a really beautiful piece of art that we were lucky enough to create together.

Where did the Hawaiian theme for the two-track release come from?

I've grown weary of song format, where everything is three and a half minutes and it goes verse, chorus, verse, chorus, bridge chorus. It seems like each time that someone puts out a song, it's competing for the attention of a single even if it's not. I felt so trapped by it, so I decided that, if I just let them all run together like a medley - one of my favourite things is Abbey Road side two from The Beatles and one song starts and another one stops and it's kind of all over the place in a cool way. Like an uninhibited flow of ideas. That's what I decided to do. And call it side A and side B. I'm releasing 'Welcome To Your New Life' and the other one is called 'Nausea.' But there are essentially four more songs after that. Some of them are little pieces of music. Some of them go verse, chorus and then they're done. It's kind of a different experience. And they're both about fifteen minutes long. I like the idea of a shorter album like that. About a half an hour. My recording studio is partnered with a vinyl mastering lab and I asked them what the ideal length for sound quality on a record is and they said fifteen minutes. I've always gravitated towards the patterns in music theory. I have a friend in Nashville named Josh Taylor and he plays Hawaiian guitar and he was showing me all these different things he was working on and I asked him to play on the record and it just happened. I realized that if I just had the Hawaiian guitars, it would make the sad break-up vibe that I want, without even thinking about it. And so, we came up with the name Alohaha for his Hawaiian cover-band in Nashville. He didn't like it so I was like, can I have it?

Even though you mentioned that it's just a great piece of art for you, is Alohaha something that you can really see taking to the next level and continuing to put out new music and be consistent?

Yes, because it's a really easy format for me to execute. It's, in some ways, less daunting than making a normal album, because it's allowed to be weird. And I also don't like playing live, so it's the kind of thing that I can see myself doing one a year of. We already have the next one mapped out. We think we're going to call it Rx, based on Lindsay's journey of trying different medication over the past year and a half. It hasn't been so rosy.

So I was also told that you're working on the forthcoming Weezer album. What can you tell me about that experience and how that all came to be?

I just finished it yesterday actually. It got mastered. I was a huge Weezer fan as a kid. I had a cover band and I actually engineered a song for them in 2009 called '(If You're Wondering If I Want You To) I Want You To.' I reconnected with Rivers about a year ago and we dove really deep into figuring out how to crack the Weezer code and kind of get back to the writing style of the first two albums. I made him grow a beard, because he had one during Pinkerton. We went down the weird rabbit hole and it was really fun. I couldn't be happier with the record.

Congrats on that dream playing out. What would you say you brought to the table with this forthcoming album with Weezer?

With Alohaha, it's really my baby. I bring the musical tone and writing and melodies. With Weezer, I'm more of a typical producer. I wear a suit to work and I like to tell everyone what to do and spend a lot of time micromanaging and fine-tuning each little part, as only a kid in a Weezer cover band could do. It's pretty fun.

Alohaha's A side/B side self-titled album is out now. Weezer's The White Album is out April 1.