Why Does Maynard Need 3 Bands? (Tool, A Perfect Circle & Puscifer)

tell me what if you were gonna listen to something today when you're out walking around the vineyard and you want to put on something that's inspiring what would you put on would you listen well I'll show you though I'll show you the photo um in the in the winery when fruit comes in uh I have a soundtrack okay so I pick I and it might be historical work whenever we're picking the Judas nebiolo I have blonde redhead and Ahmad Jamal playing that's 100 what's going to happen with that fruit when it comes in that's the soundtrack for that day okay there's other things that are going to come in that are that are straight up Devo there's going to be things that are going to be tejanos Radio on Pandora right so I historically I'll pick the same soundtrack for that wine so when we actually present the tasting notes what we played one that came in when it was first picked and processed that's on the tasting notes but in the stellar um if I'm actually trying to make these decisions uh it can't be Metallica okay it can't be Slayer I'll listen to that when I'm doing cleanup or if it's like the in-between times and I'm you know just like it's you know the Metal's going while I'm doing a thing that's fine but when I'm actually having to think it's it's stuffed more like swans than low and tones on tail and you know PJ Harvey Jillian Welsh is a is a big one on the list so that's that's I can I can think in that space and there's a little bit of slight sadness to it so you're you're also in a Melancholy state of mind while you're making these decisions uh that's just natural for me would you say that that's your natural space as a songwriter is a Melancholy yeah because your Melodies your your I always get that from it and that's why I enjoy your music so much my you know you have all your early influences and things that pop up that you listen to as a child but the two albums that that I can remember most going this in hindsight 2020 hindsight going these albums change the way that I thought of music and it was Black Sabbath first album right right and joining Mitchell blue those are the ones that kind of like guided what I what my musical tastes like you know I've listened to a million things over the years all of it but those were the ones that I kind of cut my teeth on with the understanding that you know I came late to Led Zeppelin I came late to a lot of those other bands but those are the ones that I remember on Saturday morning over at my aunt's house my grandfather was a chief of police constantly in her car an old Ford Falcon vacuuming up the pot seeds out of her back seat because he's the chief of police and he can't have his daughter driving around with pot in her car she's the one going you got to check this out blue gotta check out Black Sabbath those two records really pulled up and are as good to me both those records always have remained the same yeah they they just instantly did the same thing for you right they just bring back that for sure yeah and I you know over the years I've had various vehicles that I drive you know like I've got my my truck or my my FJ or you know uh I have a smart car uh in LA because it's easier to park ing in L.A Jesus Christ but I have soundtracks that go with these with each one and and one of them is craftwork electric Cafe on repeat on Loop or in the truck it's Black Sabbath so your range of the of the things that you'd like is that's really why you have three different three different bands probably I know I think I guess you know again it's also Logistics of timing like the guys in tool they just take longer to process information and get it together and then present me something that I can start building on I've made the mistake in the past of trying to build on something that wasn't ready yet yeah and then all the work I put in the building on the thing they changed the foundation so if you you know I'm trying to decorate the house and then you move where the doors are and move the windows or out a floor I got to start over as an interior decorator you know right right so so I have to wait for them to do it so there's time I have I have time to do all these other all these other things in between because I can and I should the first two tool records I think are three years apart then there's a five-year Gap or so and then there's another five-year Gap that was actually really unusual during that time period for artists to take that long between albums yeah I guess but you you make the music when it's ready you put it out when it's ready right I one could argue a little bit of discipline and a little prodding a little little cattle prod or a taser would help hold those guys along a little faster but that's their processing just to kind of respect it um you know it's frustrating I'm sure they're frustrated with me because they hand it to me and I'm like it's done like you didn't take any time with it yes I took 50 years right for this reaction to these things I've been preparing for decades to hear these things and be able to react honestly and I Riff on them on all this on all the projects they Riff on the thing I go back I try to beat the riff I try to beat the Riff again I actually record words to some stuff and and try to beat it and I usually come back to the first or second stream of Consciousness take because that's that's the Jazz part of it your first reaction probably was the correct reaction because it's partly conscious but mostly unconscious reaction to the rhythms having not reacted At All by listening to it for a week or two driving around in the car do you ever save your old work tapes or your work God no you destroy them immediately you know if I even have them somewhere I don't know but uh probably not uh but I don't want to go I don't want to regret not going with that one right you know you'd want to uh this is this is my name we go this way not that way do you ever go back and listen to any of your records or once they're done that's it well yeah I mean it'll come up and I'll listen to them sometimes especially like when we're going to go back on on a tour like if we go back out with perfect circle there's going to be saw I'm going to try to do songs we haven't done yeah uh so I had to go back and listen to that song and remember not the recording but what it became while we were doing it live because you you fixed it whatever the nuances were that didn't get caught in the recording you fixed it now I gotta remember listening to the original recording what that was before we go and dust the you know dust those off I did a breakdown of Weak and Powerless on my YouTube channel and I went back and listened to it yesterday and that is one of my all-time favorite songs but that and the Noose which follows it is is such a great those two songs back to back are so good amazing it's really beautiful and so different from each other and they both have sadness that I love about music and that and the the it's the note choices that you make though that that really use what I call it haunting tones this is the way that you hear these things or do you experiment and look for those spots to go to these particular notes well again that's again stealing professional steel right and so really looking at the work of people like PG Harvey uh Trent on the fragile um he's he's stealing all over that album but I'm stealing from his his stolen goods right uh I think space was the thing that really I wanted to hear more space in some of the perfect circle stuff yeah so going back to my original influences of the swans early holy money and greed albums the the just the huge Cavern of space that are in those albums simple rhythms just primal and their approach I wanted to see more of that in when you think of Perfect Circle and swans they're not the same thing right but logistically if you look at the waveforms on paper you know on a screen of those songs you see the space in the Noose that might match the space on the screen of a swan song and that was that was the point of like leaving leaving space to let you your brain is just going in the middle of the spaces having and Josh is a great drummer but I remember on the news going stop playing right there right don't don't play through stop and he's like oh because you know he already has done that in other things but like you have to remind him you've already done something like this now do that you know do that again leave space and it really sells it really sells the atmosphere of the track as contrasting to we can Palace which is like a metronome just right through your head yeah yeah again stolen from Trent we won't tell them no tell them you don't watch this Trent you uh you do leave space in your Melodies too which is amazing you're not afraid to leave space I think a lot of contemporary music that I hear there's no space at all every lyric you go verse and well there's no pre-choruses to songs anymore then chorus and there's no Bridges anymore to songs right everything is just jam-packed together and people are afraid to leave to let to let the music breathe I was how important is that it's it's crucial it's 100 crucial to me it's it's it's what makes the song you know joy and sadness you have to have the balance of both of them so noises noise and and silence are critical of as far as contrast anybody who's gone through a first year of you know uh formal art training at a university or college that's one of the first things you learn and perspective and and just drawing in general is the contrast of light and dark so that has to for a song to be effective I think it has to have all of those things and you're right the current everything's a commercial now it's a tick tock video and it's got to jam all this into tight space and just get up in your business immediately without any kind of digestion or or room for thought so early you know early Pink Floyd only hang on a note for like where are they going with this right yeah low like just vast amounts of space and the vocals just the lines lingering old Psychedelic Furs like Butler's single note vocal that's got the grit and it's just grits and it's it's monotone and it's there and then it disappears the grit comes back in it becomes a it's a texture rather than a vocal do you think that people have lost the ability to experience music like that because of things like Tick Tock ah I'm 58 I don't care you know it's it'll come back around things do come back around and people start to appreciate those things and maybe maybe something good will come out of those weird sound bite narcissistic rabbit holes uh I don't know I'm I'm the old dude it's like back in my day our music had space

Channel: Rick Beato 2

Views: 362,932

Keywords: maynard james keenan, adam jones, fear inoculum, tool band, a perfect circle, maynard james keenan interview, danny carey, tool live

Id: fyKTgOXwOpw

Length: 12min 28sec (748 seconds)

Published: Mon Mar 20 2023