to the drumming thing, id say the end of lateralus. that part is just so **** catchy! the first time i actually listened and started appreciating tool, i had that drum part stuck in my head for weeks! and im not even a drummer. but until i find the most impressive tool song on drums (well from my view), the end of lateralus has my vote :thumb:

carey does real good on lateralus, but imo his best work is 46 & 2. the drum solo, where adam jones doubles the amount of the main muted riff, is amazing.
Cant forget the bass in 46 and 2 as well. simple, i've played bass twice, and i got the intro riff nailed, but it's how he must have come up with that.
apperently when writing there songs it's carey, channcellor, jones, keenan. so you can really peice together who comes up with what.

[QUOTE=clearvision]I downloaded a torrent of 'rare tool trax - narcossis'.

It has some songs i already have on it such as...Muhammed my friend, passenger, revolution and know your enemy.

track list...

1. Santa Monica and Orange (Live)
2. Spasm (Peach cover) (Live)
3. Silly Little Love Songs (paul mcCartney cover) (?)
4. Demon Cleaner (Kyuss cover) (Live)
5. Muhammed my friend (w/Tori Amos) (Live)
6. Comfortably Numb (Pink Floyd cover) (Live)
7. Wrong Way (Sublime cover) (Live)
8. Passenger (Deftones w/Maynard) (Album track)
9. Know Your Enemy (RATM w/Maynard) (Album track)
10. cold and ugly (4 track demo)
11. hush (4 track demo)
12. part of me (4 track demo)
13. crawl away (4 track demo)
14. sober (4 track demo)
15. jerk off (4 track demo)
16. No quarter (Led Zep cover)

What do you know about some of these? The confortably numb cover is the same one i had before, and i'm very suspicious wether that is tool or maynard singing. HWat are these 4 track demos? I am able to mail you a few of these sons if you would like. Or you can get the whole torrent from [url]www.lokitorrent.com[/url] search rare tool...[/QUOTE]

I really want No Quarter, WRong Way, Comfortably Numb, and spasm

pulkpullrevolvingdoors at gmail.com

THANKS!

So I just found the worst Tool tribute ever. A bunch of techno groups got together to cover Tool songs.... oh god.

[QUOTE=Fast Fingers]So I just found the worst Tool tribute ever. A bunch of techno groups got together to cover Tool songs.... oh god.[/QUOTE]

just when i thought there could be nothing worse than the guys who re-mixed some of their songs.....(not Lohner of course, not heard his Tool remix's yet. Apparently they were played at Ozzfest one year)

The Comfortably Numb cover's okay, I used to have it, but I'd rather listen to originals anyday over their covers. Especially Undertow.

Best Cover song>>>>NO QUARTER




'nuf said

[QUOTE=Prince of Darkness]Best Cover song>>>>NO QUARTER




'nuf said[/QUOTE]

yes no quarter is the best cover song i have ever heard ...i think its much better than the orgininal :thumb:

i dont know if id say that, but i like it, real melodic, methodic kinda slow beat

i like 'lets have a war' by apc a whole bunch

Careful, you just spoke positively of a song off eMOTIVE. Some people on here will shoot on site for a crime like that.

Tool's covers > APC's covers

Probably since tool have done very few, and the majority of APC ones are just generally bad

This is my first Tool post. For a while now I have been quite the naysayer towards this band, but after listening to some DT with my buddy Jordan, (who is about the only one of my friends who appreciates music like I do,) we got on the topic of Tool. I of course spoke negatively of them, and he argued. After hearing him talk for a while, I decided that maybe I was too quick to judge the band, and I ran out and bought [I]Lateralus[/I].

I finally got a chance to listen to it through, and my previous opinion of Tool was unjustified. I judged them before I got a chance to really listen to them. I am normally very open minded when it comes to music in all aspects...but for some reason it took me this long to discover Tool...:confused:

After listening to the album, I really liked [I]Parabola[/I], [I]Ticks and Leeches[/I], and now I know that the radio version of [I]Schism[/I] doesnt do it justice. I really like Carey's drumming...its the highlight of the album so far for me.

Based on that, does anybody have any thoughts or suggestions for me as far as more Tool stuff goes?

Thanks :thumb:



ps. Sublime is my favorite band...how is their cover of [I]Wrong Way[/I]? Anyone know how I can get a hold of it?

A lot of people I know don't like Tool the first time they hear them, but eventually they start to come around. I think Tool take a while to get into. Anyway, it's nice to see someone else has just gotten into Tool's sound, and you will probably grow to appreciate it more as you listen to them more often. I'd suggest you also get Aenima, it's my second favourite album from them (Lateralus being the first), although this thread is split over which of the two they like more.

Suggested songs
Pu**** (Aenima)
Eulogy (Aenima)
Hooker With A ***** (Aenima)
46 & 2 (Aenima)
Sober (Undertow)
Bottom (Undertow)

[QUOTE=Fast Fingers]So I just found the worst Tool tribute ever. A bunch of techno groups got together to cover Tool songs.... oh god.[/QUOTE]

I own that. It's not very good.

Hey guys, I don't know many Tool songs, but what i've heard i have liked. So anyone wanna reccommend some songs to a "probable fan if he had more exposure?"

If you looked two posts above you, you would of had a start. From Lateralus, try:

Parabol/Parabola
Ticks & Leeches
The Patient
Lateralus
Schism

[QUOTE=leppermessiah]Hey guys, I don't know many Tool songs, but what i've heard i have liked. So anyone wanna reccommend some songs to a "probable fan if he had more exposure?"[/QUOTE]
As opposed to listing a bunch of songs for you, I'd recommend that you just go out, buy Lateralus or Aenima, pop it into your CD player, put on a pair of headphones and listen through it from start to finish.

Listening to a bunch of random Tool songs just doesn't do them justice the way listening to the album as a whole does.

Does Maynard wear a wig or something? He was bald with Tool, and now he has real long hair with APC.

random tool question.

[QUOTE=G_Mac07]A lot of people I know don't like Tool the first time they hear them, but eventually they start to come around. I think Tool take a while to get into. Anyway, it's nice to see someone else has just gotten into Tool's sound, and you will probably grow to appreciate it more as you listen to them more often. I'd suggest you also get Aenima, it's my second favourite album from them (Lateralus being the first), although this thread is split over which of the two they like more.

Suggested songs
Pu**** (Aenima)
Eulogy (Aenima)
Hooker With A ***** (Aenima)
46 & 2 (Aenima)
Sober (Undertow)
Bottom (Undertow)[/QUOTE]


Ive heard a few people say Aenima was good...I may have to check it out now. Thanks GMac :thumb:

WHAT THE HELL IS IN THOSE JELLY BEANS?

Having braved the dystopia that is certain parts of Hollywood, yesterday, at the email suggestion of a member of the ‘Collective’, I dropped in on the guys at their rehearsal space to check out another Tool writing/arranging session. When I arrived around noon, everyone was there except for Danny, but within minutes he pulled up on his motorcycle, carrying a plastic grocery bag containing a couple of oranges, ready to put in a hard day’s work behind that mammoth drum kit of his. Realizing that the band was going to warm up with some older songs before working on the newer compositions, I decided to grab some lunch before planting myself in the middle of the sonic onslaught for several hours with nothing in sight except for DC’s oranges, some sugar-free Red Bulls and a small bowl filled with what appeared to be rather peculiar looking jelly beans.

When I returned, the band had just finished playing one of the newer songs, the one that Danny had earlier described as being his favorite Tool composition to date. I’d heard this lengthy, rhythmically complex song (still untitled, I believe) several weeks ago, but wanted to hear it again, mainly to see what impact Maynard’s vocals would have on it. (NOTE: if it’s any consolation, the chicken burrito and Patron margaritas at El Coyote were quite good). Without any ear-plugs (but thinking that a couple of the jelly beans might suffice), I took at seat in the middle of the guys - about two feet from Adam’s speaker cabinet, six-feet from Justin’s and less than a foot from Danny’s drums (and with all those cymbal crashes and their eternal ringing in his ears). Looking around, the first thing I noticed was that the Dry-Erase message board that the band has used since Opiate days to aid them with their song arrangements was devoid of any ‘mnemonic triggers’ and only contained a jumble of seemingly random letters and what appeared to be a crude depiction of a birthday cake with four lit candles on it. Thinking it might have been drawn by Adam, I asked him about it, but received only a vague answer about it not necessarily being a birthday cake and to look closer. He then added somewhat cryptically that there was room for a fifth candle. With this, I turned to Danny to see if he could shed some light on this apparent conundrum, but, in that he seemed to be equally mystified by something involving his electronic drums, I decided to drop it. About this time, Maynard emerged from a make-shift vocal booth and handed me his latest mock-business card. I could tell you what it said, but I don’t want to shock the pious.

After selecting some samples on the “Deep Violet” electronic drums and adjusting parameters, etc., the band launched into a new song that, at least in my mind, pretty much summed things up about the direction the new record was headed musically. To say that they have taken it up a notch would be an understatement. Several notches, perhaps, might better describe it. This wasn’t just the musical equivalent of terra incognita – this was something borderline Zothyrian, Daedalian in complexity (yet, VERY heavy) with its combination of odd time signatures, dynamics and intricacy of guitar work that was ‘synchronized’ in sections to create those “chromatic s” we all love so much. Danny was doing what he does best (better than ever, I might add), and the acoustic drums were combined with lots of electronic samples of dissonant clocks, warped timpani, eruptions of noise and explosions of what sounded like bizarre artillery.

For this particular song, in certain places, Adam seemed to be using the petals more often to simultaneously trigger his Virus. As for Justin, with his lightning fast bass lines, at times there were riffs that seemed almost unnatural for that instrument. I remember after Lateralus was mastered, when a couple of writers from Bass Player Magazine arrived at the management office to conduct an interview with Justin, I was the one entrusted by the band to select a few songs so that they could first hear the new record prior to doing the interview (no one except for those involved in the production had yet heard Lateralus). I’ll never forget the smile on their faces as they listened (Justin didn’t want to be in the room with them as I played the songs). Well, if they were blown away by his playing then, I’d love to see the expressions on their faces after hearing the new stuff.

The dramatic arrangement itself was about eighteen minutes long, and I would have to say, even after having only heard it once (and, more importantly, without the vocals) it was the most impressive piece I’ve heard them do. I could only imagine what it was going to sound like with Maynard’s vocals, which he was working on from the other side of the glass. I asked what the working title of this organized pandemonium was and Justin told me. Even though the name could and probably would change when Maynard was finished with the lyrics, I’m not at liberty to reveal the working title (in case it sticks), only to say that the initials are L.K. When they finished the song there was silence in the room. Adam then glanced at me and said that it (meaning the arrangement) wasn’t quite finished yet. “NO – it IS!” I told him, just messing with him, knowing that he is the consummate perfectionist. “That’s the new single” I joked, after guessing how many minutes long it was (after all, it might have only been fifteen minutes). “Well, my part isn’t finished” he said. Adam then asked me if I’d heard the song that I missed while I was out eating lunch. I told him that I had a couple of times, but that was a few weeks ago. He said that they would play it again because they f**ked it up the first time. Before they began, Justin walked over to the mixing console and began picking through the bowl containing the colorful assortment of newfangled jelly beans, searching for quite a while for a particular color/flavor. Adam also hunted for a certain color – a golden-yellowish one that he wanted me to try, claiming it tasted like buttered popcorn. When the heathen near-vegan declined, he popped it in his mouth and subconsciously began f**king around with a chthonic riff on his silver burst.

During the break, MJK emerged from the other room and flipped me a guitar pick that had something like “I don’t really play guitar” imprinted on it. Having remedied a glitch with the electronic drums, Danny began to tell his band mates a story which he’d already told me involving a very strange incident that occurred somewhere out in the California desert. This was told to him by a friend and former band mate (no spinner of yarns), and involved some kind of anomalous lights and an apparent abduction (either by shadowy government types or otherworldly/other dimensional beings) that contained elements that researchers like Jenny Randles would call “The OZ Factor” and others would refer to as high strangeness, but would certainly be considered by the former as a “rogue case.” We all listened intently as the series of events surrounding the “abduction” or what ever occurred as told to Danny by his friend got even more bizarre. It ended with the main person involved encountering what sounded like classic MIB types. When Danny was finished, he, Maynard and I all agreed that a field trip was needed. But first Danny would need to find out exactly where the incident occurred.

With the story finished, the band played the song that I had missed. This one was no adagio either – another dimension splitter or encounter with A’ano’nin, that was about ten minutes in length and executed to perfection. During a section midway through the piece, when I closed my eyes, I could envision a whirling cone of ‘twisted sound’ piecing the aethyrs. “What the hell is in those jelly beans?” I asked. Afterwards, as Adam, Justin and Danny worked on a certain section of another new tune, I went into the other room, the one I call the Outer Void (Ain Soph) to talk to Maynard about the planned field trip, about the music business in general and about his Arizona vineyards. I also asked him if he’d make his “green sauce” for naan bread, as I was planning on making my spicy Vindaloo for a Yuletide festivity that was still in the planning stage. And, no, I wouldn’t reveal the recipe (for either).


Back in the ‘jam’ room, the guys had worked out a certain part and were playing it together when either Adam or Justin was thrown off by a cowbell sample triggered by Danny. When the inevitable SNL/Blue Oyster Cult bit came up, there was a knock at the door. This turned out to be Ann from management. She had an envelope containing a couple of Lakers tickets for Danny who was going to the game at the Staples Center that night. I asked Adam if he was going too, but he said that he and Maynard were going to a movie instead. It was about twenty minutes until the usual quitting time, and Adam asked the others if they wanted to call it a day. Justin didn’t. He wanted to work some more on another section – “string together some pieces” he said. As I watched, he walked over to the Dry-Erase message board and wiped the slate clean. So much for the birthday cake or whatever it was (anniversary?). I left for a minute to look at something in the “Outer Void”, and when I returned, the board was filled with those mnemonic triggers that represented the various parts of the composition that was being arranged. Memoria technica or not, whatever was written there, it was only decipherable to the members of the band, but, looking at it, I fondly recalled one night during the Anima or Lateralus days, when, during a drinking bout, I erased part of the formula and replaced it with my own. By doing so, I’ve always wondered whether or not in some way I contributed to a Tool song.

After experimenting on the arrangement for about a half an hour, it was time to call it a day. I put on my jacket and told the guys that I was going to go sit in the parking lot that is the 101 freeway. Justin said something about loving the traffic, and then mentioned a pub in Santa Monica that served a wonderful selection of Belgian ales. Oddly enough, he didn’t say he was going there - just that such a place existed.


When I returned home I got a phone call from my horticulturist friend down in sunny San Diego. During the conversation with Soror Petallpynx, I told her that I’d just returned from the loft where I listened to some new prog-metal. “How did the new material sound?” the surfer asked. “Very perichoretic” was my answer, but when it came to specifics I told her that I had signed a confidentiality agreement. However, I did mention the jelly beans. “Were they jelly beans or jelly bellys?” she wanted to know. “I don’t know, but there was one that Adam said tasted like buttered popcorn.” “That’s my favorite! There’s also one that tastes like caramel corn… and the toasted marshmallow one tastes like marshmallows toasted over a campfire.” “Is there one that tastes like Belgian ale?” I asked her. If so, I guess I’ll have to go back to the loft in a few days to try one. It wouldn’t be too bad to hear L.K. again either.

Just some interesting stuff about the new album

We've (almost) all read that before. Next time, please try posting a link. Thanks:)

my bad, apparently this guy is planning on dropping in on another session here in a day or two

The latest Toolband.com entry confused the hell out of me. I thought we had gone back to last month again.

And Faaip De Oiad did a number on me yesterday. During the time I wa slistening to it, the building i was in suffered a well timed power cut. Not fun

I don't really like Toolband.com...

Their webmasters are just a bit nuts I think, and the updates, at least lately, have little to nothing to do with Tool, at least that's what I've read. TDN might not have many updates, but at least they seem like they came from a sane source. I'm sure all this will change when the new album comes out.

I don't know if this has been addressed here yet, but is anyone else anxious to see if the guys picked up some lower tunings for this new album? Everything they've written up to Lateralus, save three songs, was in D...and while the music is some of the best ever IMO, I would love it if they had some songs in B, or C tunings...hell, even A if they felt like it! After seeing how well Dream Theater go back and forth from every tuning under the sun (well, almost, I've never seen them use C# or Bb) I would love to see Tool do the same thing. I would love to see Justin get ahold of a 5 or even better, 6 string bass...his creativity on a 4 has amazing me, imagine what he could do with another string or two? :thumb:

Toolband.com is more of a blog at times when ther eis not a lot of news floating around regarding tool. It can be a bit cryptic, but I just love some of the things Blair posts.

As for the alt tunings, it would be interesting to hear a few more lower tuning songs, or even for Adam to try a few standard tuning alternatives, even if they are lower tunings as well. From the sounds of it thought, the experimentation with tones and effects has gone to the next level again, im not sure if Justin has done the same, but i did see an article on Adam's practice space, and he has a few new stomp boxes and some bizzare pieces of equipment (one looks like an ammeter with uneadable dials).

And a 5 or 6 string for Justin would look sweet at the very least.

*BEWARE RANT AHEAD*

I hate alt tunings, I have only recently been able to stick drop D (my ear is getting better and i dont have to tune to anything now) I appreciate the way adam uses the shapes in this tuning. But to go lower? CGCFAD (dropped C standard) is ok i spose. But unless you wanna sound like slipknot its not too advisable to go lower. Leave the low work to justin is what i say, Adam is the guitarist and the reason i appreciate him so much is the way he fills in melody lines with riffs etc. I don't reckon he could do this as well with Low tunings.

*/END RANT*

[QUOTE=clearvision]*BEWARE RANT AHEAD*

I hate alt tunings, I have only recently been able to stick drop D (my ear is getting better and i dont have to tune to anything now) I appreciate the way adam uses the shapes in this tuning. But to go lower? CGCFAD (dropped C standard) is ok i spose. But unless you wanna sound like slipknot its not too advisable to go lower. Leave the low work to justin is what i say, Adam is the guitarist and the reason i appreciate him so much is the way he fills in melody lines with riffs etc. I don't reckon he could do this as well with Low tunings.

*/END RANT*[/QUOTE]


i hate down tuning, but billy howerdels C# F# B E G# C# is awesome. I have my LP standard permanently tuned to that

[QUOTE=clearvision]*BEWARE RANT AHEAD*

I hate alt tunings, I have only recently been able to stick drop D (my ear is getting better and i dont have to tune to anything now) I appreciate the way adam uses the shapes in this tuning. But to go lower? CGCFAD (dropped C standard) is ok i spose. But unless you wanna sound like slipknot its not too advisable to go lower. Leave the low work to justin is what i say, Adam is the guitarist and the reason i appreciate him so much is the way he fills in melody lines with riffs etc. I don't reckon he could do this as well with Low tunings.

*/END RANT*[/QUOTE]

The lower tunings only work well in certain ways. For example, Will haven (god knows if anyone kne wthem on here) used drop B exclusively and it fit so well with the angry nature of their music. But some bands use it to try and create an angrier sound, but it just seems like a gimmick. The times tool have seriously down tuned, it has worked well (end of parabola anyone?)

My rant on drop tunings are those people that complain about drop D. Although i wont start complaining, ill be here for a while.

And I really do need to put my old guitar into the step and a half down tuning soon. thats as low as ill go though

[QUOTE=Adam Jones is GOD]The lower tunings only work well in certain ways. For example, Will haven (god knows if anyone kne wthem on here) used drop B exclusively and it fit so well with the angry nature of their music. But some bands use it to try and create an angrier sound, but it just seems like a gimmick. The times tool have seriously down tuned, it has worked well (end of parabola anyone?)

My rant on drop tunings are those people that complain about drop D. Although i wont start complaining, ill be here for a while.

And I really do need to put my old guitar into the step and a half down tuning soon. thats as low as ill go though[/QUOTE]

me too, hey did i show you the silverburst im looking at? its the sexiest one EVER. Adam Jones would be proud

[QUOTE=clearvision]*BEWARE RANT AHEAD*

I hate alt tunings, I have only recently been able to stick drop D (my ear is getting better and i dont have to tune to anything now) I appreciate the way adam uses the shapes in this tuning. But to go lower? CGCFAD (dropped C standard) is ok i spose. But unless you wanna sound like slipknot its not too advisable to go lower. Leave the low work to justin is what i say, Adam is the guitarist and the reason i appreciate him so much is the way he fills in melody lines with riffs etc. I don't reckon he could do this as well with Low tunings.

*/END RANT*[/QUOTE]

I hate the people who automatically think that any lower than C is automatically a Slipknot song for something :rolleyes:

Tool has already used two variations of drop B anyway, once on Prison Sex and once on Parabola, and both worked very, very well, and neither sounded anything like Slipknot has ever written.

Dream Theater pulls out the 7 string often enough, and nothing they've written sounds like Slipknot either. Not even close.

I personally love alt tunings. They only increase the amount of things you can play, and there is nothing wrong with that.

Meh, I just find it a pain in the arse tuning down. I was looking to learn some chevelle stuff the other day, but its just a bitch tuning down to A or whatever that song was. To be honest though if you're gonna tune past dropped C you may aswell kick your bassist out of the band. Both Adams tunings were only on the bottom strings still alowing him to do what he does best. I find that he supports maynard alot of the time, if he tuned down to A then he would have to play miles up the neck. I think he should stick with drop D and maybe go to drop C if he really wants, screw the howerdel tunings and 7 strings.

this is probably irrelevant to what other people are saying but i will say it anyway. i have been listening to quite a lot of tool lately. they are actually really good. i used to listen to them about 5 years ago. but now i like them again. schism and the grudge are amazing songs.

the song opiate is maynard challanging organised religion. just think about wat u hear he's saying that the church considers people not smart enough to make their own choices

has any1 else noticed that the opiate cd is summarising their career.
sweat-heavist just like the undertow album
hush-saying that he doesnt care just like some songs on aenima
part of me - slow almost spoken lyrics just like lateralus

so knowing all this we shoud be able to fig out wat the next 3 albums will be like

mmmm perhaps, yet i think in my opinion that the next album will be their heaviest to date, but thats just me.

^ Well they toured with Meshuggah, so they might draw some influences from them. And I'm pretty sure Tool have said themselves that it will be their heaviest album yet. It should however, be nothing short of amazing.

I've heard a rumor that the new **** will be more influenced by meshuggah. I don't know if it's true, but you can imagine what tool could do with the combined sounds.
I missed some of the downtuning talk, and i personally dont like to downtune, but if the song i'm trying to learn in downtuned i'll do it. but i'll only play songs in the tuning for like a week, so i dont have to tune again.(my guitar doesnt go from d to c#or B then back to d very easily.)