Die Sichtweise: "für jeden ist es nunmal Subjektiv. Der eine hat Pushit das erste mal gehört, als es ihm scheisse ging, der nächste, im höchsten Moment des Glücks,..."
Das mag natürlich sein. Aber dieser Ansatz würde ja bedeuten, dass jegliche objektive, theoretische und wissenschaftliche Auseinandersetzung mit Kunst im Allgemeinen unmöglich ist. Ich denke, man sollte versuchen diese Ebenen voneinander zu trennen, so gut wie eben möglich. Nur so kann man auch versuchen seine eigenen Erfahrungen mit der Außenwelt zu teilen, weil deine subjektiven Gefühle dem anderen halt total abgehen, bei dem was du beschreibst. Dein Gegenüber hat eben was anderes Gefühlt. Wenn (und auch nur dann) man denn ein Werk "allumfassend" analysieren und interpretieren will. Dann muss man sich eben auf einer objektiven Ebene befinden. Es kann natürlich auch sein, dass hier im Forum das niemand machen wollte, sondern jeder nur gerne kurz sagen wollte, wann ihn Tool das erste mal bewegt hat. Ist natürlich auch berechtigt.
Aber Ich glaube, Kokolores war der Meinung (verzeih mir die Anmaßung), dass es der Diskussion förderlich sei, wenn wir uns von dieser subjektiven Wahrnehmung lösen. (stimmt das so ungefaehr?)
IN 2007, when Maynard James Keenan was last here for the Big Day Out, he wore an impressive Stetson hat. It was a far cry from the body paint and nappy combo he rocked while touring Tool's fourth album, 10,000 Days.
"I'm wearing several hats at the moment," Keenan begins, speaking about work on Tool's next album and rehearsing with his other band, A Perfect Circle. But clearly he has one cap he enjoys wearing most: winemaker.
The singer has his own winery, Caduceus, in Arizona.
"I just finished a harvest for the winery. I'm learning from a lot of people. I'm always on email with Peter Gago from Penfolds, picking his brain as much as I can," says the 45-year-old vino aficionado.
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"A lot of it has to be hands-on. You can be shown so much but every field of grapes is different. There are some basics you need to learn but it's a lifetime of understanding to really build a solid repertoire."
Interestingly, it was beguiling singer Tori Amos who gave Keenan a taste for wine 15 years ago when she gave him a bottle of Silver Oak Napa Valley 1992.
"All of a sudden it all made sense, and I caught the virus, so to speak," he recalls.
While in Australia in the late-'90s, Keenan had a representative bid for an Imperial bottle of 1998 Grange Hermitage. The winning amount? A lazy $64,000. Has Keenan indulged in the Grange yet?
"Oh no, you don't drink that bottle of Imperial; that's a collector's item, that bottle's going in a museum," he chides.
From the fruits of Keenan's own Caduceus labour, he says, "The Judith cabernet is the best wine we've ever produced. It's really top notch stuff. And we just did a Sangiovese Grosso that's been very popular lately."
Sure, Keenan can talk wine all day, but his music is what we'd like to know a little more about.
On this day, Keenan is in "Los Angeles unfortunately, rehearsing with A Perfect Circle".
It's not Keenan's favourite city. To quote his song Aenima: "Here in this hopeless f---ing hole we call LA, the only way to fix it is to flush it all away."
"I'm no Nostradamus, but it probably won't happen," he says wearily.
Two things Keenan can predict are the length of the set Tool will play at this summer's Big Day Out - "Roughly 73 minutes" - and, sadly, that the band most likely won't play any new material.
"We only know we've got a new Tool album when it's half-way done," he says. "You always wanna do your best job, whatever the goal of the project is. You focus on each piece as an individual piece, whatever it is, painting or cooking, singing or writing."
Tool have been the smartest heavy band going around since 1993's Undertow. The epoch-defining Aenima followed in 1996 and Lateralus maintained their rage in 2001. Their last, 10,000 Days, came in 2006.
"We were very happy with it; we wouldn't have recorded it if we weren't sure," Keenan says.
"Tool is never what you start off with. It's a process of evolution; it evolves on its own and there's usually happy results. You let it occur rather than force it."
Clearly, Maynard is intimating - as he did on Schism - "I know (when) the pieces fit".
A little less conversation, a little more action, please!
Whoa, Youtube hat mal wieder ein rares Video aus längst vergangenen Zeiten zutage gefördert, welches man noch nicht kennt: Eine holländische Dokumentation über Tool, speziell Danny, von ca. 1997. ...
Zitat von Third EyeWhoa, Youtube hat mal wieder ein rares Video aus längst vergangenen Zeiten zutage gefördert, welches man noch nicht kennt: Ein Interview über Tool, speziell Danny, von ca. 1997. ...
haha, danke für die links! richtig süß wenn danny carey im studio über king crimson schwärmt
Besonders der Livemittschnitt in Part 3 ist echt genial. Nicht auszudenken, wenn diese holländischen Dokumentarfilmer das komplette Konzert in dem Stil gefilmt haben.
Derselbe Youtube-Uploader hat auch noch ein Interview mit Adam aus dem Jahr 1994 hochgeladen. Einige Szenen dieses Interviews wurden auch für die unglaublich fade Toology-DVD verwendet. In dem vollen Beitrag ist die Band auch bei den Radiosessions für den Sender VPRO zu sehen. http://www.youtube.com/watch?v=f7A1cMfl0Xc
Ich frage mich, was unsere holländischen Kollegen noch alles iin ihren Archiven haben.
Nein, ich bin nicht die Signatur. Ich putz hier nur.
Dem November-Newsletter ist zu entnehmen, dass das neue Album den Titel "Floccinaucinihilipilification" tragen wird.
Zudem werden die Pläne der kommenden Live DVD preisgegeben:
ZitatA: From what I've been told, the band is planning on doing a 'secret' concert really soon in New Orleans. This is going to be a massive production with a horizontal holographic surround sound system based on the two-dimensional Fourier transform (or something like that). Besides the digitally created phase inversion of sonic holography, there will be lighting effects that include Fairchild plasma optoelectronics and the most advanced (legal) liquid-nitrogen-cooled multicolored laser system available - all of which will be filmed for a live DVD. Supposedly, the set list for this three-hour extravaganza will include MANY songs that the band hasn't played in years, including the "Lateralus" album in its entirety. Additionally, some of the guest performers include Robert Fripp, Jimmy Page, Terry Bossio, Tori Amos, and, of course, Harry Connick Jr. During the encore (a zydeco-rendition of "Hooker With A Penis"), Danny will summon Marie Laveau from the dead in order to reveal true 13 Phase Unity Merkaba Lightbody Activation (thus doing away with the need for any backstage passes!). After the show, as a tribute to all their fans in NOLA, the band will throw a spectacular backstage party, with tuxedoed and top-hatted zombies serving complimentary Dixie Beer, shots of absinthe, and iced champagne laced with Gib's "Bottled Hell." There will also be plenty of special Tool JAMBALAYA, red beans & rice, Jujube-studded flaming Bananas Foster and glittering Beignets! Volto! to support. And when it's all over, in order to keep the live DVD under wraps, all those in attendance will be zapped by a memory-erasing device (Acme Neuralyzer) that was borrowed from Level 7 of the underground facility at Archuleta Mesa in Dulce, New Mexico. Therefore, Joseph, it might be that you've already saw the show of all Tool shows. Even met the band members! Might that explain those Jujubes in your pocket?
ZitatAs for what’s in store for Tool in 2011, he said, “we were asked to do some dates in Europe later this year, but we’re not going to do them; we’re really deep in the middle of getting music together for the album. It’s a really cool thing to be in the middle of this process, and it’s my hope we can capture something special in the studio.”
"Wenn einer mit Vergnügen zu einer Musik in Reih und Glied marschieren kann, dann verachte ich ihn schon; er hat sein großes Gehirn nur aus Irrtum bekommen, da für ihn das Rückenmark schon völlig genügen würde." Æ
ZitatJambi takes me back to that uncomfortable memory that greeted you at the door of this interview, but Danny mentions it for a good reason: that song’s three divided rhythms provide a telling glimpse into the shape of Tool’s future – and yes, we’re talking the next album.
“It’s a typical Tool song to me; I remember when we were mastering the last record, that was one that I liked to play for people, like, ‘This is where we are, as Tool.’ It’s a good feeling,” Danny says, and Danny is pleased. “We’ve got a couple of great ideas like that that have sort of almost taken off from where that left off that we’re working on. It’s still in its infancy,” he admits, hurriedly, before I can even ask, “and we’re still at the point where we’re just jamming and logging ideas. There hasn’t been a lot of writing and arranging going on; it’s more just in the development, research stages. We’ve got three or four great frameworks that we’re having a lot of fun with, that’s for sure.”
That’s all well and good, I tell him on behalf of us all, but in five years’ time I’ll be over this brooding metal racket thing and courting the sounds of Ornette Coleman in a bid to reinforce my advance into mandatory maturity.
He laughs that deluge of a laugh again, then one he saves for when he’s truly amused. “That’s like the norm, isn’t it? Usually the first two or three songs are the hardest ones, and every once and a while we can get stuck and we’re working on one song for two months or something. I’m hoping it’ll be out… definitely before the end of 2011.”
Ist das nicht uralt? War das nicht schon der Arbeitstitel von 10,000 days? Also ist die Information uralt und längst überholt oder Tool fällt selbst für den Arbeitstitel nichts besseres mehr ein.
Toolunity
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11.11.2010 20:35
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