A Quote by David Pajo
On a musical level, I do find it rewarding. It's not like I want to blow my brains out while I'm playing these songs from so long ago. I am still surprised by the way the songs are constructed - note choices, the way the arrangements are made, the way these songs are assembled. I'm still amazed at times.
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When I pull into a city and I rent a car and it's Nashville, or it's London, or I'm driving in the taxi to the hotel, and on comes one of my songs, it's like, 'Oh my God, they're still playing these songs on the radio.' And you still feel tearful and very grateful that somebody still likes these songs that you made up.
I was classically trained. But more than just the fact that I play violin, there's a lot of classical elements in the way I write, in the way I hear chords. A lot of times, I think of my songs as a symphony made out of electronics rather than instruments. And I love to do orchestral arrangements of my songs after they're done.
I don't want to change the way I write my songs, I like the way I write my songs, so I keep 'em the same. I'd like to write more country songs, but other than that, I'm pretty good where I am.
I'm somebody who grew up listening to a lot of musical theater, so getting to finally write musical theater songs and songs that sound that way - the emphasis being on the storytelling, but the arrangements and the orchestrations can be really varied - I found that to be, actually, a really joyful discovery.
If I completely understood what was going on and I understood these songs, they wouldn't make sense to play live anymore. They're still enigmatic for me. I'm still searching in the songs as they are. That's what's actually been the most fun about playing and touring for me is that there's still a lot of caverns in the songs where you can go and hide out different nights.
I was immersed in popular songs of the time, of the '30s and '40s. I was writing songs, making fun of the attitudes of those songs, in the musical style of the songs themselves; love songs, folk songs, marches, football.
On 'Heartbreaker,' I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs. With 'Gold,' I was trying to prove something to myself. I wanted to invent a modern classic.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
The songs I was writing still had lyrics or sentiments that didn't match what I was feeling. It was old, negative energy coming out of me still, but it needed to all get out so I could trash those songs and put them in the bin. And then I was able to let the new songs out.
Music is an emotion and it makes you feel a certain way. Some songs make you want to dance, while some make you think. Some songs are positive, while some people see those songs as negative.
There are still songs that I'm writing. I like to write. I like to take a long time to do my songs, not even the actual writing process, but conceptualizing, getting into the songs. That's why I stopped doing mixtapes.
There's only one reason why you write new songs: You get sick of the old songs. It's not that I didn't do anything during the time when I wrote no songs. I was creative, but in another way. I had ideas for songs and collected the ideas.
With DJing, there's still an art to it - you get two DJs and give them songs to play, one can play it better. There is a way, and it's not just about the songs you're playing, it's about how you mix, the timing, when you cut out and in. I love it, and I love feeling the excitement of the crowd - you go on this journey with them for an hour or so.
On Heartbreaker, I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs.
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.
You write in songs what you're too scared to write in real life, and then you sing the songs to loads of people instead of telling it to the person you should be telling it to... Songs are a great way of dealing with those issues but kind of a coward's way as well.
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