In a wide-ranging interview, Tom Morello tells us how Kanye West inspired the recording of his new album and getting Springsteen, Vedder and Chris Stapleton to contribute. And yes, we tried to get some RATM answers.
The inspiration to resume creating came from an unlikely source. “I read a quote by Kanye West where he said he had recorded the vocals for a couple of his hit records on the Voice Memos [app] on his iPhone,” Morello says. I was like, ‘You can do that?’ And I started just playing guitar straight into my iPhone. I’d send the guitar riffs off to various producers, engineers, and artists around the world. That re-light the pilot light.
I sent some tracks to [Italian electronic dance group] Bloody Beetroots and some to [Canadian producer] Jon Levine; just different producer friends. I’d send them riffs and they’d send me back tracks. I’d be like, “Oh, that sounds fuckin’ great. There might be a way to still be a musician during this time.” And so the making of this record didn’t begin with, “I’m going to make a record.” It began with, “This is an antidepressant.
The second song is “Highway To Hell” with Bruce Springsteen and Eddie Vedder. I remember back in 2014 when you played that with both of them in Melbourne, Australia during your time with the E Street Band. Phantogram is on “Driving to Texas.” I love an act that works with Miley Cyrus can also work with you.
I’m sure it was fun to send these files out and wait to hear what these artists were going to do with them. You must have never known what to expect. She sent me this eight-minute long trance-like Arabic track. I was like, “Awesome. I just gotta figure this out.” And so I put on my headphones and put on my Coltrane ears and just tried to respond to the music, and just let go. I did three passes through the thing and sent it to her for her to apply her production genius to it. I think it’s a fitting end to the record.
I have no plans to. I’m looking forward to 2022 and going out with Rage Against the Machine. But I did tour behind the first Atlas record. That record has 20 collaborators, and none of them came on tour with me. I did it with Sean Evans, who was the artistic director for the Roger Waters tours. We didn’t have the same budget [as Waters], but we put together a really cool show that was one part illegal rave, one part Barbara Kruger art show, and one part heavy metal mosh pit.
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