When we played with the Rollins Band, we'd keep songs going until we felt like ending it.
We're more into expressing ourselves than making radio hits.
We have meetings with our record label to tell them how to market us.
We could have gone with much bigger labels and more money, but we wanted to go with a company that is LA based, all in the same building, and really understands what the artists want.
The Melvins are grunge.
That's what I love about our music - it'll never be a hit because you can't dance to it.
That's the thing I like about my sound. It's real raw and very unsafe compared to a solid state kind of sound.
Many of the songs on Undertow were written at the time Opiate came out.
If I play anything that sounds like a solo, it's gonna sound like a lyric.
I've never worried about how long the song is.
I think putting labels on people is just an easy way of marketing something you don't understand.
I personally don't like to use as many effects because when you play live, something always goes wrong.
Doing the stereotypical solo bores me.
But if you want to be in a band and write music, then you should just be in a band and write music.
As far as the grunge thing, there are three bands from Seattle that I would call true grunge.
All the art for Tool is done by the me and the band.
As long as I can remember, growing up we had a guitar around our house, and I was always plucking on it.
I'm a self-taught guitarist, but I have a classical music background.
In the time between records, I always have lots of stuff going on. I shoot photography, make little sculptures, play video games.
I never thought 'Stairway to Heaven' was a long song. I loved how there was this part and then there was another part that was completely different.
