Fellow JUhSers,
Before I can review this album for you, I feel I must explain where I fit within the realm of popular music. Let's put it this way: If rock was a school, I'd be in the special ed class.
This was not always so. In my heyday, circa Freshman and Sophomore years in college, I attended an astounding variety of live shows (including Tool in San Antonio during their Lateralus tour) and illegally downloaded multiple gigabytes worth of mp3s. Since then my level of rock IQ has atrophied significantly. I am grossly dependent on Michael's suggestions (Death from Above 1979, Arctic Monkeys, etc...) and Derek's mix tapes (Feel Good Rock Roll Vol. 1 & 2). I've been listening to a decent mix of those, Hardin Sweaty and the Ready To Go, and Coheed and Cambria for the past few months. Although my musical tastes have adjusted over the years, I'm still the same person who grew up on early 90's rock and, later, the metal stylings of Metallica, Pantera, and Tool.
Each new Tool album has been a momentous event. As a band, when you make the decision to release only one new album every four years, it's best that you adhere to certain standards. In other words, you better make it worth the damn wait. Tool, overwhelmingly, has done so. It's hard to believe that a band with only four full-length releases in the amount of time they've been around has garnered such a following.
In my opinion, Ænima must act as the yardstick against which all of their new releases are measured. I'm a huge fan of Undertow, but I believe Ænima is Tool's crowning achievement, fully embodying their style and maturity as a band. On this basis, I was disappointed with Lateralus at first. I still believe it's a spectacular album, but for me it did not live up to the staggering expectations inherently created as "the follow-up to Ænima." Standing alone it is amazing, but in the context of Tool's greater repertoire, it does not rank highly for me.
10,000 days gets much, much closer.
The album begins with the first single, "Vicariously." It is far superior to "Schism" - a song I don't particularly enjoy. It's your classic seven minute Tool tune, and it rocks pretty hard. I'm not going to use this space to analyze songs or opine as to the inner meaning of the symbolism because, really, I don't give a shit. I don't care if you're singing about daisies and lollipops, as long as the song rocks. I will say this: Maynard's lyrics in this album are extremely straightforward. He flirts with the literal for much of the album. This was completely unexpected, especially after the apparent direction the band was heading with Lateralus, but it's actually very refreshing.
I was taken aback at first - how could Tool release something so simplistic? The guitar riffs are back to the basics, reminiscent of much of their work in Undertow. The softer, trippier songs are melodic and don't particularly push progressive rock boundaries. I think Tool said to themselves, "we can still make badass rock songs - they may be long and weird as hell, but they're gonna fucking rock, and they're gonna fucking keep you interested." In a way, they're in direct opposition to one of their ongoing themes ("be patient...") with the adoption of this (relatively) direct approach to songwriting. Maybe I'm wrong. Maybe I'm just used to Tool's style, but I have the feeling this album will meet greater popular success as a result, without sacrificing any artistic integrity.
Getting back to the review, the first two tracks ("Vicariously" and "Jambi") are badass rock tunes. The next two, sister-songs "Wings for Marie (Part 1)" and "10,000 Days (Wings Part 2)" are softer, flowing, and punctuated with some stunning crescendos. They make up a two-part tribute (of sorts) to Maynard's mother, so they consist of pretty heady material. Once again, the lyrics aren't overly symbolic. Once again, I'm a fan.
"The Pot" reverts the album back to it's hard rock core, performed in the same vein as "Hooker with a Penis" and "Ticks & Leeches." Oh, and the bass line is fucking badass. "Lost Keys (Blame Hofmann)" and "Rosetta Stoned" are a connected intro & song about aliens and LSD. Cool. "Intension" is another trippy seven minute tune. If you liked "Disposition" and "Reflection," you'll like this one. "Right in Two," effectively the album's conclusion, is another badass song. If you made it this far, you deserve it, too. It's another straightforward commentary on how mankind wastes it's gifts fighting about useless shit. I wholeheartedly agree - the topic couldn't be more pertinent.
In conclusion, I like 10,000 days. A lot. It's a welcome respite from the copious amount of shitty rock music out now. It doesn't quite reach the same heights as Ænima, but I've only had a week to let it sink in. My initial feeling is that it doesn't quite acheive the same scope or cohesion. However, time will fit the album in it's correct place. If nothing else, it demonstrates that Tool is still moving forward creatively, still making entertaining music, and still remains a relevant force in the watered-down metal scene.
-Andrew
"Proud JUhS member since 2006!"
Tool says: "Enjoy our new album, bitches!"
In the 80s, a decade regarded as completely ridiculous, rollerblading and its many life changing behaviors were merely drops in the big bucket of said ridiculousiosity. The lame way people looked both wearing blades and "blading" on blades was also partially acceptable in the early to mid 90s. However, in our current climate of awesome (of which the Johnny is oh-so-happy to be a part of), rollerblading needs to be outlawed. The only time rollerblading is at all warranted is when you have the blades on and are performing sweet tricks off of benches, rails, cars, or drained pools. In any other set of circumstances rollerblading is not awesome. Not at all.
