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Published:May 3rd, 2006 05:18 EST
Tool erupts onto the scene with 10,000 Days release

Tool erupts onto the scene with 10,000 Days release

By Brandon Jennings

10,000 Days, the latest installment from progressive rock act Tool, has erupted onto shelves and is packed full of what Tool fans have been eagerly anticipating for half a decade.  This album is nothing short of amazing, musically and lyrically, and anyone who expected less does not know Tool very well.

Adam Jones and Justin Chancellor make tasteful, yet innovative, use of delay pedals while keeping their progressions simple, and accentuating the songs with their trademark hammer-on, pull off, fill style that is most well recognized from their previous release Lateralus (2001)... specifically on the track Schism.

The amazingly tight sounding musical compositions were most likely achieved by countless hours of writing without James Maynard Keenan being in the rehearsal space, with Jones (Guitar), Chancellor (Bass), and Danny Carey (Drums).  It is immediately evident that they were able to find the groove as soon as Vicarious explodes through the speakers.  However, regardless of the amount of input Keenan had on the musical composition of the tracks, he certainly puts his mark on the songs-- vocally and lyrically.

Vicarious seems to be a song calling American culture out, with phrases like, “Vicariously I live while the whole world dies,” and, ”Stare like a Junkie into the TV.”  Perhaps this is a call for people to get off the couch, try and make changes in the world, rather than simply turning tragedy into entertainment.  Luckily, for the lighthearted listener, the entire album doesn’t seem to be completely serious from start to finish.  Keenan’s acapella intro to The Pot is reminiscent of something one would expect from a Justin Timberlake record; however, as soon as the instrumentals kick in, the fact that you are laughing at Keenan for saying, “You musta’ been out yo’ head,” quickly fades, and you are instantly drawn back into the insane compositions this album is full of.

One more thing that must be mentioned about this near perfect piece of music is the job Carey does with percussion, electronic and real.  His fills (which sometimes seem to last the whole song) are brain bending at times.  The most clear-cut example in the album starts at about the 5-minute mark on Rosetta Stoned and lasts for nearly a minute before resuming the tight groove the song begins with.
To say this album is amazing wouldn’t be enough.  The only thing that can be said is: by not buying this album, you’ll be doing yourself a huge disservice.