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Tool is a great band...I just don't like the majority of their fans is all.
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That's what everyone always says but all the Tool fans I've met in real life are pretty cool people (there's only three of them, so I can say that honestly). Sure there's a lot of morons who like Tool spamming message boards but you can't take them as being representative of the entire fan base.
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A lot of people don't recognize how great Tool is. I really like their music, but I also recognize how immeasurably talented the band is. Adam Jones is a great guitarist who sometime gets overlooked for his...erm..."unconventional" style. Danny Carey is a superb drummer, possibly my favorite modern drummer, and has insane mechanical prowess (listen to his tabla solo on Right in Two). And Maynard is...well...Maynard. There's really no other way to describe that man.
I had heard Tool on local radio stations for years and not thought of them twice. Although I was drawn to Tool by 10,000 Days, I worked backwards, eventually making my way to Undertow. I learned to love their strange opuses like Third Eye (which remains my favorite Tool song) and I began to recognize the brilliance in Aenima and Lateralus (which is my favorite album). I saw them twice live, and they were spectacular both times, combining lighting and sound elements to produce an ethereal effect on the senses. I wholeheartedly think they are one of the best modern bands. |
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That's a rather obtuse way of looking at him. It's not just me that thinks hes great; he was in Rolling Stone's 100 Greatest Guitarists of All Time (#75) and Guitar World's 100 Greatest Hard Rock Guitarists (#9). But I guess that doesn't mean much to you.
Very well. Technically speaking, he is a fantastic guitarist. It takes a great deal of control to use a slide guitar like he does. He does for Tool what Tom Morello did for Rage. If you play guitar, you should be able to recognize the difficulty of using a slide with as much precision as Jones does. |
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"This is not a list that ranks who can play the fastest or with the most taste, feeling or technique (although many players on our list have all of those arrows in their quiver) ... It is, rather, a tribute to the great men who **** iron and piss stainless steel razor blades, and do it every time they plug into an amplifier." If you want to talk actual pure dexterity in terms of speed and amazing technique, Jones is not skillful in that way and I believe he has admitted that too in interviews. This is one of the factors that has actually shaped Tool's sound. If Jones had always been an AMAZING riff player, soloist, and had all sorts of other insane tricks in his repertoire, Tool would have come to sound quite different to how they do. As it happens he's quite an unpretentious player, doing simpler things (compared to many other metal bands) but doing them very well. This is clearly reflected in Tool's music. The guitar parts never whizz off into the land of look-what-I-can-do. The complexities of Tool's music is built more in the interplay between the instruments and how the contrastive rhythms play off each other. Quote:
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I suppose his negative reputation also makes him less than great. He's simply unskilled compared to those other great metal and progressive guitarists. Rolling Stone was obviously just giving him an honorably mention for being "good at what he does." Just like they did with Eddie Van Halen, who came after Adam Jones. And Dave Gilmour, who was in the eighties. Angus Young, at #96, must have realized he would never be a great metal guitarist. I'm not saying that the mundane list is concrete evidence that Adam Jones was a godlike demon on guitar, ripping people new ones as he played faster than ears could handle. You're perfectly right: if Jones had that speed and dexterity, Tool would sound very, very different. But you're ignoring what I'm trying to say. It's not me proclaiming like an ignorant fanboy that he was better than everyone else. I simply stated, and I'll repeat: Adam Jones is a great guitarist. |
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Danny Carey sucks. He utilitzes pro-tools super chromatic turbo phasing percussive toner on all his tracks to beef up his sound. That's why countless producers refuse to work with him. Yeah sure anybody can sound like a drumming wizard with all that studio doctoring. I read somewhere that in order to approximate the sound of his drumming on the albums in a live setting, he actually hires a couple of midgets to hide behind his kit at shows and help out with some of the fills. Tool fans don't wanna hear this of course because they're too busy worshipping the very shit that drops from Tool's collective asses. The only thing more redundant than a Tool guitar riff, is the throng of minions willing to drop to their knees and orally service Maynard on command. Gimme a break with this crap. And for the record, Ringo Starr owns Carey.
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And for the record, Ringo Starr only owns Meg White. That's it. |
Tool
im not a huge fan but some of there songs are ok like vicarious, paraboler, schem. but what do you think?
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As a huge fan of tool i can say that you are entitled to your opinion sleepy jack. However, i do not know where you get off thinking he has "midgets" helping him do his fills. I do not understand. He is who he is by this little magic word called dedication, hard work, and ****ing practicing his ass off! I would know the kind of hard work it takes because i too am i drummer/percussionist. I have seen Tool live several times and i am proud to tell you that no, Danny Carey does not suck. He has blistering fills, grace notes that would pucker your *******, use of rudimentary feels to everything that he plays, and above all even putting him in the same category or the same sentence for that matter is just insulting. I think Ringo Starr is one of the worst drummers of all time to pick up a pair of drumsticks. Danny Carey makes the band that is Tool. I do admit that a lot of their guitar riffs and guitar breaks are a lot of the same in most songs, that i do admit. But to sit back and say that Danny Carey, one of my most influential drummers of all time blows, then of course i am going to have to strongly disagree with you. But, you are entitled to your opinion. However, millions of fans would have to disagree with you.
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Ethan isn't clever enough to think of that himself. But regrettably most of MJK's fans take everything he writes seriously.
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You also do not want to bump into Danny on a bad day in a dark alley. The dude is ****ing huge!
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Danny Carey is a mountain man
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I like Tool as well but haven't listened them for a while. And I don't understand why most people like that song, "Schism" when I think there are other great songs from the same album. I like the song "Reflection".
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I've been into Tool since as long as I can remember....a friend showed me 46&2 when I was young....and I was hooked. Researching the ideas behind their music changed the way I see the world.
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As for the OP, I love both Tool and A Perfect Circle but you are comparing bands that are aiming for different sounds. Tool are probably my favourite band, just because I find the intricacy of their music amazing - especially the polyrythms and polytonality. Being a musician myself it's just insane! But I also love A Perfect Circle, which for me, evoke an entire different mood and feeling. |
Tool's 'Lateralus' album & links to Fibonacci sequence codes & puzzles?
Found this recently online... (a long read, but perhaps worth it if you're a Tool fan. Or maybe even if you hate Tool and Tool fans.)
-quote- 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, �nema. 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. -end quote- If you want the direct think to the website where I found this, PM or e-mail me because I'm a newbie and am not allowed to post URLs yet :) I realise the person who wrote this has done a HECK of over-analysing, and gone crazy with theories and mathetics et cetera with this interpretation, but what do others think? I found it pretty damn amazing. And the person who wrote this goes on to quote with references band members talking about the creation of this album and the puzzles and structures underlying it. Pretty amazing. I've loved Tool for a long time but when I read this I was blown away. |
The only numbers I like in music are 1,2,3,4 at the start of every Ramones track. It's much easier to understand. :D
thread Merged. |
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Tool is a great band. Maynard has one of the best vocals I've heard. Undertow is my favorite album from the group.
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I've finally been forced to listen to the 10000 something something album by the sheer force of MB Tool fanboyishness and found it to sound like Staind only longer....So I thought I'd report back and thank all you assholes for wasting my time. So thank you...assholes...:|
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A perfect circle has more meaning to me personally.
Tool has more metal, and I love the music. Two hard bands to compare to see who's better. They are both awsome. |
10,000 Days does not suck. If you wanted another Lateralus you're asking for a hell of a lot.
Wings Pt. 2 is one of the most epic and emotional songs I've ever heard, from any band, in any genre, ever. |
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It's the song that got me to finally realize how epic they really are. To be specific, the line: "10,000 days in the fire is long enough; you're going home." I remember the exact moment. >.> "You're the only one who can hold your head up high, Shake your fists at the gates saying: 'I've come home now! Fetch me the Spirit, the Son, and the Father. Tell them their pillar of faith has ascended. It's time now! My time now! Give me my, give me my wings!'" |
Agreed. I liked the song when I first heard it, but what really put it over the top for me was hearing it live. It blew me away more than anything else they played, although had they played Right In Two I think it could have given it a run for its money.
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Maynard was once quoted saying that with Tool, everything is worked to absolute perfection before it is released or before they even consider it a finished song, but with APC it's more like relaxing a little and letting the emotions come out.
What is everybody's thoughts on Puscifer? I'm ambivalent at the moment as I haven't been able to get my hands on the album. |
I don't consider Puscifer in the same vein as Tool or APC, I see Puscifer as Maynard's way of blowing off some musical steam.
That being said, if you want some trance/industrial stuff to just throw on in the background, Puscifer is pretty damn good. Check out Indigo Children and you'll see what I mean. |
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"First of all, thank you all for choosing to participate in this chaotic project. I realize most of you are here because of my prior efforts. This project rests in stark contrast to those in many many ways. Specifically speaking, with Tool and APC it's about complete presentation. We explore every avenue possible. We take each piece as far as we possibly can before preserving and presenting them. It is as much about opening up possibilities as it is carefully guiding the experience. Not so, with Puscifer. Here we are a work in progress. We're attempting to grin and tap our foot in the midst of an ocean of chaotic processes and perceptions. It's an anything goes, light hearted party." - Maynard, from his blog MySpace.com Blogs - Puscifer MySpace Blog. I've had a listen to them and they are indeed a totally different tangent from Tool and APC. I'm enjoying some songs. Indigo Children is great. Anyway! |
Yep. Just something to pass the time until we get the new Tool album...hopefully sometime next year (fingers crossed but not too hopeful lol).
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But they are always worth the wait, IMO. |
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Has anyone come across this girl on YouTube? She does these amazing Tool covers on piano. Adam Jones and Maynard came across her vids and loved them so much Adam Jones has the video on his MySpace page and Maynard put one of her covers up on his Puscifer blog. (Slightly off-topic but couldn't think of where else to post it) |
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Tool is my ****.
Danny Carey is just my favorite drummer of all time. I love the way their music feels. To me it feels like an actual experience, instead of most other music which just feels like energy. It takes the power that anyone else can make using instruments and multiplies it tenfold. It just feels like magic to me. |
Tool > Puscifer > APC
All are good, though. And Tool's music videos are incredible. |
Puscifer aren't better than A Perfect Circle.
They're pretty much just some random experimental stuff Maynard wanted to mess around with (and he event admits to this.) APC, even though they are a side project, are pretty amazing. Tool > APC > Puscifer. |
Some APC sounds pretty plain. No Puscifer has made me bored.
Don't get me wrong, friend, I love them all. We mustn't forget that APC perfected Imagine. |
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