World Record" has a looseness and a spontaneity that's rare in new recordings. It reminds me a little of listening to old 78-r.p.m. records-most early recording artists had just one three-minute shot in front of the microphone, and sometimes things got a little wild, a little free. How do you purposefully cultivate that feeling in the studio?

The process that we go through in recording with Tool is very organic, but at the same time it is very thought out. There is a very left-brain process of dissecting what we're doing and drawing from source material; it's very research oriented and esoteric.

In my songs, I try to look through someone else's eyes, and I want to give the audience a feeling more than a message.

I play my enemies like a game of chess.

You don't get another chance. Life is no Nintendo game.

I always enjoyed the feeling of being onstage - the magic that comes. When I hit the stage it's like all of a sudden a magic from somewhere just comes and the spirit just hits you and you just lose control of yourself.