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Tool

Preroller

TRIBE Member
Starting a new thread cause the other one got moved...

So, I'm really digging 10,000 Days...Sounds like they rocked Coachella. Did anyone manage to score tix for the Hummingbird on the 16th? It sounds like they have a really good show set up for these smaller venues, it should be a hell of a show. I wish I could go...

Did anyone read the story by Blair on Toolband about the massive acid binge they had?...trying out all these classic blotter sheets from the 60's and 70's to see if they still worked...it was pretty fucked up, but I can't find it on the site anymore. He kept blaming Hoffman for everything that happened on the trip...

Favorite tunes on new album so far...

Jambi
The Pot
Rosetta Stoned
Both the Wings For Marie
Vicarious
 

samsara

New Member
I am just a worthless liar. I am just an imbecile.
I will only complicate you. trust in me and fall as well.
I will find a center in you. I will chew it up and leave.
I will work to elevate you, just enough to bring you down.

Grade 9!
 

maphi

TRIBE Member
samsara said:
I am just a worthless liar. I am just an imbecile.
I will only complicate you. trust in me and fall as well.
I will find a center in you. I will chew it up and leave.
I will work to elevate you, just enough to bring you down.

Grade 9!
Yep. Sober is Tool in grade 9... They have since obtained masters degrees. If you haven't heard them since then, I'd suggest checking out the new album. Wings pt 1 & 2 is pretty much one of the most hauntingly beautiful songs I have ever heard. I can't wait to see them next week... it should be an amazing show.
 

Preroller

TRIBE Member
maphi said:
Yep. Sober is Tool in grade 9... They have since obtained masters degrees. If you haven't heard them since then, I'd suggest checking out the new album. Wings pt 1 & 2 is pretty much one of the most hauntingly beautiful songs I have ever heard. I can't wait to see them next week... it should be an amazing show.

Lucky!

Have fun.
 

OTIS

TRIBE Member
I'm still weirded out by the choice in venue for the upcoming concert. Considering what a gongshow I remember the KoolHaus (then the Warehouse) one was, I can't imagine how the seating and carpets of the H centre are going to go over.

That being said, I gotta make a point of catching up on their new stuff.
 
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0Mango0

TRIBE Member
tool rocks

Insights
TO ANYONE WHO THINKS TOOL SUCKS: READ THIS POST ON A WEBSITE I FOUND, AND
FIND OUT WHY THEY ARE INCREDIBLE

Okay - I'm a first time poster, but there are some things that I really
want to throw around. To me, Tool's Lateralus is the most amazing piece of
music ever composed. Not because I'm a goofball that has an affinity for
the rockin' hard metal, and not because I want to latch on to their (in my
opinion, unfairly applied) satanic reputation, but because I can say that
it is the most intellectual, inspirational, and awe-inspiring material
that I have ever been exposed to. Many reviews and commentaries of
Lateralus on the internet mention that it was long-awaited, often saying
that it eased Tool fans' desire for more. I think it was much more than
that. I think Tool deliberately wanted to give their fans something truly
amazing, but wanted them to find it on their own. "Recognize this as a
holy gift..." At first, I thought that the song Lateralus was about
tripping acid - discovering true color by seperating the body from the
mind. At first listen, I imagined the bending envelope as an intense
visual. After becoming more familiar with the track, however, I had
reformed my interpretation to something broader: think deeper. Lateralus,
perhaps because it is the album's "title track", serves as the central
clue for a puzzle that a friend of mine had read about somewhere on the
internet. "All I know is that there is a different order for the songs -
something about two spirals. Oh yeah, and thirteen is in the middle."
After scavenging through endless google search results, I gave up on
finding more about this 'alternate order'. Intent to figure the album out,
and very curious about the spirals - I put on the proverbial 'thinking
cap'. I understood how the spirals could have a lot of significance, in
that the album's title track offers the inspiring, "swing on the spiral of
our divinity and still be a human..........And following our will and wind
we may just go where no one's been. We'll ride the spiral to the end and
may just go where no one's been." In my internet scavenging, I had read
one review, written by a drummer, who mentioned that Danny Carey's drum
beat formed a fibonacci sequence during the song Lateralus. A drummer
myself, I decided to get out the graph paper and follow Danny. I can't
play like he can, but at least I can hear everything he's doing, and thus
was able to construct the drum tabulature. Sure enough, Danny repeats a
Fibonacci sequence through the number 13: 1,1,2,3,5,8,13. After 13, he
starts again with 1. Bringing in my Algebra 2 knowledge of the Fibonacci
sequence, when the equation for the Fibonacci sequence (which I don't
actually know) is graphed, it forms a sprial whose vertex depends on the
number at which the sequence begins. Coincidence? I began to think not. I
had already known of Danny's obsession with sacred geometry and am
familiar with Bob Frissell's book, Nothing in This Book Is True, But It's
Exactly How Things Are , so the significance of what I had stumbled upon
had actually begun to settle in. This is where I just had to play with
Lateralus. I had doodled a few spirals in the corners of my graph paper,
and in doing so made the first important connection to Lateralus. I knew
that if the tracks were in fact intended to be heard in a different order,
"Parabol" and "Parabola" would have to go together. In drawing my spirals,
I had begun with a vertex and 'spiraled' outwards. After writing the
numbers 1 through 13 linearly, I could immediately see that Parabol and
Parabola would have to be the middle of my spiral (in that 13 / 2 = 6.5).
I drew a simple arrow between 6 and 7 and then pondered the next pair. At
first, I actually drew a spiral connecting pairs of numbers whose sum
equaled 13 (the number of songs on the album). This, however, left the
last track in the same position and without anything to connect to. At
this time, I had used my copy of Lateralus and Cool Edit Pro to take out
the silences between tracks and put the songs in the following order:
6,7,5,8,4,9,3,10,2,11,1,12,13. The transition from Parabola into Schism
blew my mind, as the plucks, probably dismissed by listeners as a drawn
out rant of an ending, perfectly transition into the beginning of Schism.
When you count out beats as the strings are plucked, Schism resumes with
the same time signature and tempo - mirroring the progression of notes.
The transition from Schism into Ticks & Leeches is equally intriguing.
Schism ends with strong double-kick bass and tom smacks, and Ticks &
Leeches begins with what many would call a 'tribal' drum beat. The beat at
the very start of Ticks & Leeches is slightly different every subsequent
time it is repeated - the measures are two beats longer. Yup - you guessed
it - those two beats are ACTUALLY the last two beats of Schism. I can
honestly say that I never understood the album's fourth track, Mantra
until reordering the album's songs. What I had originally heard as whale
calls now had begun to resemble the worst imaginable dry heaves - or a
stylized choking. Fitting, seeing as how the last line in Ticks & Leeches
is "I hope you choke." After this transition, none of those following it
really seemed to make much sense. I certainly didn't like that Disposition
and Reflection had been seperated - as they sound quite good when played
sequentially on the album. This was the only real roadblock in my
disciphering of the Holy Gift. Then I had remembered what my friend had
told me - 13 was in the middle. At the time, probably just wanting to
believe that there was more to this cd, I had equated this to the
positioning of the song "Intermission" on the previous release, Ænema. For
the song to be in the 'middle' of the album it would have to be the
seventh track in sequence, here having six tracks on either side of it. So
I inserted Faaip de Oiad after Lateralus, and almost peed my pants when I
discovered that (ever-so-faintly) the fading tone of the last note of
Lateralus could be heard in beginning of Faaip de Oiad, and how the
distortion of the guitars at the tail end of Lateralus resembled, and
later transitioned seamlessly into, the static at the beginning of Faaip
de Oiad. The lyrics of Lateralus justify this break in the spiral, almost
instructing: "spiral out, keep going, spiral out, keep going." I went back
to Lateralus to find the next clue. In Danny Carey's amazingly competent
Fibonacci sequence, he had stopped at 13 and gone back to 1. This is what
I chose to do to finish the sequence. A second spiral was now constucted,
and the order for the Holy Gift now became 6,7,5,8,4,9,13,1,12,2,11,3,10.
Already many of you are probably fascinated at what I have revealed to
you, but I can not even begin to tell you what this new order has opened
up for me. The beauty of Lateralus is very, very fragile and has to be
viewed with a very open mind. It can also be different when looked at from
different points of view. Aside from the fact that the new order of the
songs places them in an order where they flow together nicely - often
ending and resuming on the same notes or within the same progression, and
some times - in the case of Lateralus into Faaip de Oiad and The Grudge
into Triad - even overlapping (though admittadly sound much better when
actually electronically overlapped, this is kind of cheating. Consider
this a hint, however, if you plan on doing this yourself), the two spirals
help to tell a story that every Tool fan should hear. In the interest of
not boring the only casually intrigued, I will try to keep this very
brief. I would also recommend familiarizing yourselves with Frissell's
book (yeah - the one I mentioned earlier). I consider Parabol and Parabola
to be quite expository. Maynard wants us to know that no matter what
happens, we must all know that this is not our only existance. Our very
minds and the contents of our subconscious are intended to be immortal,
and if we accept this into our lives (be it because of personal or
religious reasons), it will be so. As such, pain is an illusion. At first,
I called it "The Lateralus Prophecy" (for reasons you will soon
understand), but I have since decided to call the 'reordered' version of
Lateralus "The Holy Gift". As Maynard says, "Recognize this as a holy gift
and celebrate this chance to be alive and breathing," I take the word
"this" to mean much more than just his simple cautioning. Since Parabola
is the second track of the Holy Gift, it can be considered at the
beginning (esp. considering the context of it's duality with Parabol), and
as such, I interpret Maynard's words as more than just clever lyrics in a
song. They are a plead for his listeners to listen to everything he has to
say and truly celebrate the chance of immortality offered throughout. I
would be lying if I said that each song has a specific translation. On the
contrary, Tool's music is designed to make you think, not say something
specific. It must be treated like great literature - much is hidden
contextually. I will elude to Geometric-Drumming's previous post, where he
explains the time signatures of Schism: "It represents the title...it's
arranged in 12/8 time which is SPLIT into 5/8 and 7/8 - which only really
FITS as you PUT THE PIECES BACK TOGETHER." Where Geometric-Drumming claims
Schism as his favorite Tool song, I have heard some fans say that it was a
retched pick for the album's only single - but I think it was brilliant.
Not to downplay the interpretations of those who have posted before me (in
fact, I agree with much of what %BlueSoulRobot% has to say), but I think
that to the casual listener who knows nothing of Tool, it can be a
powerful invitation. Think about it - a lot of dingbats with MTV and a
radio would walk around with the words "I know the pieces fit" in their
heads. I wonder how many of them took the time to put the pieces back
together to (re)discover what is trying to be communicated. I welcome any
feedback. I would love to share interpretations of the songs via email -
just too lengthy to post here. I would like to offer the following advice:
DO NOT use MP3s to digitally reorder Lateralus. A lot of VERY IMPORTANT
information is encoded on the actual cd. Ever notice how everyone who has
lost or broken that cd has IMMEDIATELY gone out and bought a new copy? I
know I have. It's because there are things encoded on the factory pressing
of the cd that are lost in the mp3 compression process and any direct copy
onto a cd-r. If you want to do it, do it right - I can't stress how
important this is. Use the cda tracks as you put it together and maintain
all audio fidelity using professional mixing software.
 
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wayne bradbury

TRIBE Member
Incrimin8 said:
this album gets better the more I hear it.

Yes it does!

I found once I start listening to it I have to sit and listen to the whole thing in one sitting otherwise it doesn't feel right.

Also it amazes me how Tool manages to top what they did last time. Musically and album artwise.
 

deep

TRIBE Member
It didn't really grab me the way Lateralus did but I'm going to keep it around and try to let it grow on me.
 

Preroller

TRIBE Member
I like this lyric at the start of rosetta stoned...

Alrighty then
Picture this if you will

10 to 2 AM
And actually eating up an old box of Krispy Kremes
And my need-to-know potion.
I was just outside Area 51
Contemplating the whole chosen people thing
When a flaming stealth banana split the sky like, wide open.
I never expected to see it in a place like this.
I do believe I spilled a diamond sundae
Or something wet on my Birkenstocks
And [you're yelping]
Holy fucking shit

Then the x-file beings who were like
some kind of blue-grey [Jackie Chan]
With Isabella Rossellini lips and breath that reeked
[They're wicked-shot terrorists all by making the sound]
abananadabanana so when I opened up my bug eyes, my gaping jaw and my sweaty lower and upper lip
And all I could think was
I hope that my partner here doesn't notice
that I pissed my fucking pants

So alive in this way
Like an apparition
You have me crying out
Fuck me
It's got to be
Dead head
Chemistry
The blotter got
On top of me
Got me seeing
E mother-fucking T

And after calming me down with some orange slices
And some fetal spooning
The ET revealed to me his singular purpose
He said you are the chosen one
The one who'll deliver the message
A message of hope for those who chose to hear it
And a warning for those who do not
Me, the chosen one, they chose me
And I didn't graduate from fucking high school
 

maphi

TRIBE Member
Preroller said:
So alive in this way
Like an apparition
You have me crying out
Fuck me
It's got to be
Dead head
Chemistry
The blotter got
On top of me
Got me seeing
E mother-fucking T

And after calming me down with some orange slices
And some fetal spooning
The ET revealed to me his singular purpose
He said you are the chosen one
The one who'll deliver the message
A message of hope for those who chose to hear it
And a warning for those who do not
Me, the chosen one, they chose me
And I didn't graduate from fucking high school
That's fuckin brilliant... I kind of knew what he was talking about, but haven't actually seen the lyrics for this printed yet. Amazing... Notice how they quote the riff from "Third Eye" in this song??? This is like Third Eye pt. 2. which fits perfectly with the previous track "Blame Hoffman"... This is what can happen if you actually pry open your 3rd eye kids! They also quote a riff from 46 & 2 during "Right in Two" which, to me, is like 46 & 2 pt 1... Right in Two talks about the evolution from monkey to man whereas 46 & 2 talks about the evolution of man to whatever we are becoming. This is why i love Tool so much. I will still be discovering shit like this 2 years from now.
 
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Preroller

TRIBE Member
LOL moment...

I just had a concert on my patio, performing 'the pot', and I totally nailed it.

Seriously, I love the new album, and I hope that they use most of it in the upcoming tour.
 

Aerius Zension

TRIBE Member
As soon as there were grim whispers that a new Tool album was impending, I started to get all sorts of e-mails demanding that I write a review of it. And now, here it is: 10,000 Days, which could refer to just about anything. Some guesses:

-The combined man-hours involved in designing the album’s packaging.

-How long the album seems (to me).

-The average age at which a male Tool fan loses his virginity, if manual stimulation by a 15-year-old girl in the back of a movie theater showing Saw II counts.

-It’s not funny, Maynard’s mom had a STROKE and she was PARALYZED for 10,000 Days, you prick!

-The number of days it will take me to wade through the e-mails calling me a prick for making fun of Maynard’s mom having a stroke.

Once upon a time, I lived for the simple pleasure of not having to listen to Tool albums. Those days are over, I’m afraid. I know that if were to I let this Tool album slip by without telling my soft-headed readers why they shouldn’t be listening to it, half of them would buy it and let it corrupt their delicate brains, and the slightly smarter half would crucify me for failing in my solemn duty to protect humanity from smarty-pants prog-metal.

I’m not sure I can stomach the prospect of picking over a whole Tool album today, or ever. More importantly, I don’t think this world needs any more Tool-related discourse, since message board discussion of the hidden meaning of every last nugget of cryptic poesy and superfluous plopping noise currently accounts for 75% of the Internet’s traffic. But lo, I must comment, for it is my job.

What can I say about 10,000 Days, really? It sounds exactly and precisely like a Tool album. They might as well have not have released it at all, because anyone who’s ever heard Tool could simply imagine what a new Tool album would sound like, and this is exactly what they’d imagine. We’ve got Maynard’s trademarked wacky frontloaded cadence that makes him sound like he’s gasping out words between pauses in getting beaten up (vi oomph cari oomph ous oomph ly oomph I…). Only in “The Pot” does he break out of his well-trod habits and surprise/embarrass us with some little-brotherly falsetto mewling. We’ve got Danny Carey’s (or is it Dana Carvey? I always mix those two up. Both are drummers, you know) inscrutable poly-molly-wooly-rhythms and tiresome bass drum wank-rolls that sound like a finger stuck in a fan (but, somehow, it’s music!).

As always, the affair is shabbily held together by the guitar work of Adam Jones, which manages to touch all the extremes of mediocrity, from the chilling abyss of conspicuous sub-mediocrity (the spit-soaked Frampton-Comes-Alive solo on “Jambi”) to the thrilling stratosphere of… defensibility. Yes, that’s about the best that could be said of him: someone somewhere might have some kind of argument in his favor. Lord knows it isn’t me. His ass is frequently saved by the workmanlike bass twiddling of What’s-His-Face, who charitably wrests the lead from Jones when the going gets too tough.

I may mention the general tunelessness of recent Tool songs, but I’ve already predicted the result: “Yeah, ‘Doctor’ Thorpe, you try coming up with a tune in a song written in 6.35/12/3 time! Tool is too complicated for tunes!” Yes, what a plebeian I am, shackled to the concept of melody, unwilling to see the genius of Tool’s usage of lofty concepts such as lengthy meandering and endless shuffling guitar scratchings. Sure, getting a good song stuck in your head is fun and humming a tune is a nice sometimes, and thank heavens we have Maynard around to test out some semi-melodic little vocal figures over the bubbling squall of bass shit, but the real future of music lies in the total death of melody. I’ll admit, after hearing “Jambi” a few times I woke up humming the sound of an old man trying to start up a recalcitrant 1962 Ford Falcon Club Wagon on an icy winter day. Chugga chugga chug.

For what it’s worth, the lyrics seem to be a bit less elliptical this time around, while still giving the trainspotting numerologist jerk-off Tool-nerd (and that accounts for 100% of Tool fans) something to chew on. First up, “Vicarious”: a Dateline Special Report on violence in the news media featuring guest commentator Maynard James Keenan. Excellent! I’ve been hoping to hear Maynard weigh in on the hottest issue of 1990. Maynard remains ambivalent! Ambivalent equals edgy! Oh Maynard, you’ve wowed me again with your no-bullshit worldview. “Jambi,” of course, is about the genie on Pee Wee’s Playhouse. That’s as much thought as I’m going to put into it, because putting thought into interpreting Tool songs is something that you people do, not me. The album’s titular track is “10,000 Days: Wings Part 2,” in which he talks about his mother’s death and that ain’t nothing to fuck with, so I’m leaving it alone (but the song sucks, yo). Rosetta Stoned manages to sneak in some of Tool’s beloved po-faced scatological humor amid a tale of some loser who does too many drugs and thinks for a split second that his life has meaning, but then it escapes his addled mind (sound familiar, Tool fans?). And so forth.

But what really fascinates me about Tool albums is the filler. While Tool has rarely been as audacious with their time-wasters as a band like The Mars Volta, they have been known to fall on the indulgent side. Their die-hard fans might claim that each and every track on the album serves its purpose and generates the distinctive “flow” of a Tool record.Yes, we can’t have too much of a tour-de-force. If every song on the album were worthwhile, the album would simply be too much, and we wouldn’t be able to concentrate. A fillerless Tool album would be an embarrassment of riches! Ladies would swoon!

Particularly impressed was I with “Lipan Conjuring,” which was so thoughtful an addition to the album that I feel as if it were included just for me. You see, I went to the record store with only fifteen dollars in my pocket, and I had a devil of a time deciding between 10,000 Days and Native Moods: A Pathway to Peace. On one hand, I love rockin’ out to some ten-minute chugging shuffles, but there’s another part of my soul that craves the inner harmony that can only be brought on from some high-quality chanting. It was with a heavy heart that I left the store carrying only one of these two things— or so I thought! Imagine my immense pleasure when my hard rock album was interrupted— no, that’s too harsh a word— when my hard rock album was magnificently bolstered by exactly the sort of stupid fucking crap I might hear on some grocery store counter impulse buy CD of New Age chanting bullshit! Bravo! I can have my cake and eat it too, and while I eat my cake I can listen to some total crap!

Ah, and “Viginti Tres” was a similar breath of fresh air, or perhaps quite the opposite. I haven’t been to the dentist in quite a while, and I was starting to get nervous about my lack of preventive dental care. Leave it to Tool to put my mind at ease by including the sound of that dental vacuum suction device on the end of their album! It feels like the spit is getting sucked out of my head even as I listen to it! And it even builds to a calming crescendo of tooth-drilling agony, just like a real visit to the ol’ sadist. This is not to mention the three-minute intro to Rosetta Stoned; that clearly doesn’t count as filler, since it’s an integral part of the song, right? I mean, you might ask “what could possibly make an already lengthy and overwrought song even better?” Obviously, the answer is to make the sum’bitch longer! Just slap on a vacuous three minutes of guitar feedback and a couple of menacing chords, and voila: epic.

Well, now that you’ve put that in your collective pipes and smoked it, I hope you continue to have fun nitpicking the meanings of various Tool songs on message boards for the rest of your miserable lives, or until Maynard finally dries out and crumbles like the lanky baked clay sculpture of a buzzard he is.

David Thorpe
..
 
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Jeffsus

TRIBE Member
My buddy used to listen to Tool all the time at little caesars.

He'd probably be interested in the dragonlance thread too.

-jM
A&D
 

SellyCat

TRIBE Member
I almost NEVER EVER buy music, but I'll always buy a Tool album.

The first time i listened to 10,000 Days, it struck me as more convention, accessible and mainstream. It took almost no time for it to grow on me and like every other tool album, I'm currently addicted to it. Lateralis had a more powerful affect on me, like Mitsouko's little aneurysms

The first track I fell in love with was Wings 1&2 (especially part 2). Currently, it's Right In Two--very topical. But they're all really good.

It's actually a very strong album despite being more accessible than Lateralis, which was the single most powerful album I have ever experienced.

Edit: Tool's producer also produced I Mother Earth's Quicksilver Meat Dream album, and it sounds a lot like Tool, especially the rhythm and bass section. Check it out.
 
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Boss Hog

TRIBE Member
My brother loves these guys. I listed to Lateralus a few times but just couldn't seem to get into it, but I have 10,000 days and gave it a listen. Sounds interesting enough to give it a few more chances.



 
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