10,000 Days

Sonically relentless and visually groundbreaking only begin to describe the Tool experience. Formed in Los Angeles, CA in 1990, Tool has cemented themselves in today's hard music community with uncompromising attitude and vision. With just one EP and three album releases over a 15-year span, Tool has created a loyal and even rabid fan base, selling over 10 million albums and half a million videos in the U.S. alone. After 5 years of waiting the truly unique and inspirational Tool return with their new album 10,000 Days. It is a 76-minute, 11-song genius prog-metal odyssey, which is packed with plenty of eight minute-plus twisted riff-a-thons, odd-tempo Polyrhythms and Tool’s trademark eerie interludes. Is 10,000 Days worth the wait? Well, the answer is a definitive yes. Singer Maynard James Keenan is back on mystical form after his hiatus with the politically slanted A Perfect Circle, sounding at once ethereal and eloquent as he calmly charges through the metal tempest of the opening track Vicarious. The rest of the band, meanwhile, hits a series of high-flying moments with tracks such as Jambi and The Pot. This album is a must have, not only for Tool fans, but for music fans in general.

Another instant Tool classic taken a step further

The album starts out with Vicarious, which features some of Maynard's most straightforward lyrics since AEnima's Hooker with a Penis. Essentially a biting commentary on reality television, information stimulus overload, and living through others' experiences, it's only a brief glimpse of what's to come, as 10,000 Days also offers some of Keenan's most confessional lyrics. The 17-minute epic Wings for Marie/10,000 Days is an ode to his mother, who passed away during the band's hiatus after dealing with paralysis from a stroke for 27 years. In a way, it's voyeuristic to listen to someone working out family issues on disc, but Keenan does it in a way that's sensitive and honest without ever treading the careful line between melodrama and sincerity. The Pot fuses together cynical lyrics and Maynard’s passionate vocal delivery with the hard edge of bassist Justin Chancellor. The segue tracks between songs give an other-worldly, other-century feel until Maynard’s clear, stable voice brings us back to present-day. Combining everyday noises (rain, hospital noise, conversation and wind) with eerie synth effects, the resulting sounds provide an intriguing flow of energy that has its own momentum. Drummer Danny Carey is hard-hitting when needed and chaotic when necessary; he even gives a soft touch with the bongo-like beats in Right in Two. Overall, their continued uniqueness makes this disc another instant Tool classic taken a step further.

10,000 Days was worth the labor pains and wait to deliver

The anger that served as fuel for some of Tool’s greatest works has been replaced with calmer and more introspective moments as they patiently work out rhythm and melodic passages from one theme to the next. That's not to say the anger isn't still there; it does check in from song to song, but like most of Tool's fan base that has stuck with them through their first recordings, the group has evolved beyond that stage and has moved on to new concepts to explore. So depending upon which Tool you are looking for, you're either going to love or hate 10,000 Days. If it's the hard-driving band with an intellectually driven existential anger and fits of Hot Topic-laden angst, they've fled for other pastures. But if you're looking for the Tool whose passion and introspection is complemented by intense emotion, brutal honesty, and musical maturity, you'll be hard-pressed to find a better metal album in 2006. Thankfully, 10,000 Days was worth the labor pains and wait to deliver. It's not only a step forward for the band, but a re-embracing of the epic-length rock songs found at the roots of early heavy metal. This album requires a lot of patience and focus from the listener. There is a lot going on in these tracks so it is best to listen to it all the way through, which by the way, is a treat in its self.