A Quote by Danny Carey

Making 13-minute tracks is pretty alternative, I think! — © Danny Carey
Making 13-minute tracks is pretty alternative, I think!
I think most albums should be 13 tracks, to be fair. It's a matter of interest. It's quality over quantity.
I'm quite convinced that cooking is the only alternative to film making. Maybe there's also another alternative, that's walking on foot.
I think it's very pretty. Can it be pretty if no one thinks it's pretty? I think it's pretty. If you're the only one? That's pretty pretty. And what about the boys? Don't you want them to think you're pretty? I wouldn't want a boy to think I was pretty unless he was the kind of boy who thought I was pretty.
It was pretty evident, I think, the direction the country was going, and that's why I think Donald Trump offered such a clear alternative to that from Hillary Clinton.
We had about 60 regions in Greece and now there are only 13. It'd be like cutting down 50 states to 13 and making it more efficient.
I'm always making tracks. I find that when you make tons of tracks, you stumble upon genius. You can't always turn the drum machine on and right away there's a hot track. Sometimes you luck out. But it can take a lot of time between thinking about the artist, listening to music for inspiration or going to clubs.
I have an obsession with making an album rather than a collection of tracks. For me it's like making a film - it's the perfect length of time to tell a story.
You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.
It's always been most important for me to figure out "my space" rather than trying to check out what everyone else is up to, minute by minute. Technology is making it easier to connect to other people, but maybe harder to keep connected to yourself-- and that's essential for any artist, I think.
I'd say the late 70s were probably pretty cool. Obviously the cars weren't safe and the tracks weren't safe and all that stuff, but I think back then it was more about the driver.
I think I fall into a lot of cracks in terms of I'm too something. I'm too this, I'm too that. And my music has never really had a home. I've been this floating alternative. I'm too mainstream for alternative. I'm too alternative for mainstream. And I'm just kind of wandering.
I don't want people to expect the hard tracks to continue my whole career. When I started making music, I wasn't making music like that.
I love making music, I love composing on my computer, just making crazy ethnic slack orchestral tracks, that's one of my fun things.
The alternative scene, for a couple years now, has been taken seriously and that's a cool thing. I don't think it's exploded or anything, but I think it's pretty cool that it still exists, it's still affecting people.
But now I wonder--what if everyone is pretty much the same and it's just a thousand small choices that add up to the person you are? No good or evil, no black and white, no inner demons or angels whispering the right answers in our ears like it's some cosmic SAT test. Just us, hour by hour, minute by minute, day by day,making the best choices we can. The thought is horrifying. If that's true, then there's no right choice. There's only choice.
When my dad toured in '91, I think my first gig properly was the Tokyo Dome, 50,000 people indoors. That was pretty scary. I was 12, or 13.
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