Words matter. These are the best Danny Carey Quotes, and they’re great for sharing with your friends.
Pink Floyd and Yes and some of the old art-rock bands, you didn’t know what they looked like. You were always looking for pictures, and that added to the mystique. It’s much more interesting when you’re forced to imagine or guess at these things because usually it’s better than reality.
We’re not in the business of putting up barriers; that’s the job of politicians. They’re the idiots who want to build walls between people.
No one can be their best every night.
The lead singer is such a prominent thing, where drums are more of a supporting instrument.
It seems like on every record we have this big, epic thing like ‘Rosetta,’ ‘Wings For Marie’ or ‘Lateralus.’
It drove me mad not being able to know more about Pink Floyd when I was a little kid. But that’s the great thing – there was this mystery behind it, and we couldn’t find out enough. It made your mind work, it made you seek after it or try to interpret it. It made you envision or imagine what they were doing.
Most of the parts are really gone over and over and over again with Tool. It’s a very composed situation. We spend weeks if not months working on all those songs. There’s not much room for improvisation.
We rarely write in the studio. Everything’s already completely arranged before we go in. That way, we can really focus on getting the recording right.
Our crowds seem to keep growing whether we put out a record or not, so I feel very lucky to have that support.
Those late ’60s early ’70s bands would take it really far out and get super-weird.
We try to write things that can be interpreted on lots of different levels. There’s not a right way or a wrong way… people can adventure a little.
We’re not really in the business to sell ourselves. We want to sell what we work on.
The thing is, the way we write is all jams and bits and pieces that get pieced together and sometimes things are written with intentions of being a song, and then all of a sudden the main riff of this song, six months later turns into a verse or a chorus of another song.
Stylistically, we’re trying to push things in different ways, but it always comes out sounding like Tool no matter what we’re trying to do.
I think there is a collective unconsciousness, or some sort of consciousness, that you can tap into if you’re open and brave enough to let everything go and be part of that.
It takes us long for a reason, but the end result is: we all completely believe in, not just every verse, every chorus, every bar is scrutinized, and that’s the result of what you’ll hear on this record.
We’ve always considered our music to be a healing process. It’s our ‘tool’ to work things out with each other and try to communicate with each other and learn things. And it’s good for everyone – us and our audience – to get together.
There are no leftover Tool songs because of the process it takes to compose our songs – the way we hash it out in a room with all three or four of us, that there’s tons of riffs and jams and things. But there’s no put-together songs that are sitting in the eaves.
Our fans are loyal as can be, that’s for sure.
The drums can get pretty boring as a solo instrument.
We’re dealing with the chaos of life, and we’re rubbing it down. The deeper you rub, the more patterns you can see until you realize that it’s really an organized chaos. There isn’t really ever any chance to understand it all, but we’re here to keep rubbing.
Chaos is the undercurrent of everything that happens in life.
We got full artistic integrity and autonomy over what we were doing, and that was the main important thing that kept our band alive.
We have pretty much all the facets of our business under our control now. Relying on someone else to do the right thing, you’re just setting yourself up to get screwed. We control our own destiny and it’s a really good feeling.
Yeah, I grew up playing lots of jazz music in school.
Making 13-minute tracks is pretty alternative, I think!
We toured for close to three years after ‘Undertow’ came out, so by the time we started to work on ‘AEnima,’ we had matured as functional musicians, and that changes your sound completely. Once you have that kind of freedom, an idea will come into your head and you can do it justice.
I’ve been taking tabla lessons and they’ve helped expand my rhythmic horizons.
You can equate our music to childbirth. It’s brutal and harsh, but there’s still a beautiful thing occurring.
Every record I’ve ever done with Tool has been on tape.
All my best drumming, I’m sure, has never been recorded.
It’s pretty weird to me that our music is as popular as it is.
It kind of renews my faith in humankind that there’s long attention spans left out there that can listen to a 12-minute song.
