Children go with whatever makes them feel good - like if that's the color green or orange, they do that with their clothes. As I've grown older, everything reversed. My music, my personality - onstage those things became my colors.
I listen to a lot of different stuff, from Mozart to Johnny Dowd to Monster Magnet. I don't listen to music while I'm writing a draft, but I do listen to it when I'm revising.
It's been a while since I checked in with Malcolm Gladwell's 'Revisionist History' podcast. The episode 'The King of Tears' suggests the author is raising the bar. His argument is that country music is the genre that makes us cry because, unlike rock, it's not afraid of specifics.
I think a lot of musicians play for the playback. I mean, that's the joy of recording - you want to hear what you've done and what you've contributed - but never listening to that playback kind of removes the intellectual part of making music, and it removes the tendency to be revisionist.
At the same time all this was happening, there was a folk song revival movement goingon, so the commercial music industry was actually changed by the Civil Rights Movement.
Because of the fashion, the young people don't have any access to the history of music, unless people like me revive it. There are very few people to revive it, because you can't earn any money doing it.
Everything revolves around the music when it comes to Tool.
My life revolves around music.
Making words rhyme for a living is one of the great joys of my life... That's a superpower I've been very conscious of developing. I started at the same level as everybody else, and then I just listened to more music and talked to myself until it was an actual superpower I could pull out on special occasions.
I started writing rhymes first and then put it to the music. I figured out I could lock it to the beat better if I heard the music first. I like to get a lot of tracks, put the track up and let the music talk to me about what it's about.
My approach to writing rhymes went hand in hand with the music. I'd try to make different rhythms with my rhymes on the track by tripping up patterns, using multi-syllable words, different syncopations. I'd try to be like a different instrument.
When people in stadiums do the Wave, it's the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.
The heart of a music is its rhythm. The heart of rhythm section music is the rhythm.
And I like messing around in the engine room of music. Seeing what happens in the rhythm section area.
Music has to be written while people are still excited about a particular melodic or rhythmic sequence. The idea doesn't come out the same if we're not really excited about it.
I'm not a rich person financially, but I am in mind and soul. I have so much energy and strength, and I can do a lot of things that make me, and I think my fans, quite happy. When everything's gone, music alone shall live on.
Yes, I want to work with Rick Rubin. Yes, I want to work with Trent Reznor. Yes, I want to work with Madlib. Yes, I want to get with all these wonderful people. Collie Buddz, Marsha Ambrosius. I just want to go, man. I'm gonna keep on making music.
When I started making music, I figured the name Rico Nasty would give a background of who I am.
When I saw the movie, I said, I wish I had heard the music. I would have ridden the horse differently.
I've always been interested in shaping music in odd ways, with odd riffs and that's been probably something that I've continued on with my studies with improvisation as I'm working with people.
