Hey, I'm back, though I never really posted much, so I'm sure nobody remembers me. But anyway, I'm seeing Tool in Madison, WI on Sept. 17th...I hear they're going to change how the concert works since it'll be a bigger venue. Anyone else hear about this?

well i just bought 10,000 days.. first listen as we speak. man this is cool.

10,000 Days was really cool. Justin Chancellor does a lot of really cool **** on bass in this one. They all do really cool **** on this one, it's good.

The drumming on Right in Two is just jaw dropping...

I keep noticing new things like this with every new listen.

Tool in 3 days :cool:

It reminds me of undertow but abit subtler in the dynamics.. still only 3 tracks in though

[QUOTE=Aaron]It reminds me of undertow but abit subtler in the dynamics.. still only 3 tracks in though[/QUOTE]


yeah just wait the album gets really different

[QUOTE=Magicaltroll]

I was brought to tears three times because of the intensity of the performance last night. They were beyond amazing.[/QUOTE]

I was brought to tears too. (I like how we're not admitting it's crying. :p) Once during the opening track, the title of which I still do not know, and then once during the climax of Dulcinea. Beyond intense.

[QUOTE=Dr. Jake Destructo]I was brought to tears too. (I like how we're not admitting it's crying. :p) Once during the opening track, the title of which I still do not know, and then once during the climax of Dulcinea. Beyond intense.[/QUOTE]
Seriously.

God, they were awesome.

Do Isis play Backlit on this tour?

In conclusion: I'm a converted tool fan from buying 10,000 days. It's heavy, but not metal. It's dynamic, but not prog. It's sincere, but not cliche. It's.. textured. That's the only word I can think of.

Sometimes I get the impression on 10,000 Days that Tool just used polyrhythms and weird time signatures for the sake of using them, rather than really utilizing them to get a certain or unorthodox sound (read: King Crimson).

what are some good king crimson songs/i've been wanting to check them out but I'd like to know some good songs

[quote=Salivation]what are some good king crimson songs/i've been wanting to check them out but I'd like to know some good songs[/quote]
The Great Deceiver
21st Century Schizoid Man
One More Red Nightmare
Cat Food

thanks

No problem. Those are just favorite songs from the 4 King Crimson albums that I own, so you may want to get recommendations from someone else.

Omg Rosetta Stoned is sooooo good when you read the lyrics along with it. Thanks Jake.

anyone else convinced the doctor in lost keys (blame hoffman) is russell crowe!?

Haha, yes, I have them on my Myspace. How epic is that? :cool:

Kage - I agree with you in a few cases. The 11/8 riff in Rosetta Stoned that is actually 3 measures of 3 and one measure of 2..It's like Adam just chopped off the last note of the 4th arpeggio to say "Yup, it's in an obscure time sig, what now, 4/4?"

But then in a case like the main riff in the first part of Right In two that is also in 11, I think that's a great implementation of a complex-ish time signature. It's a very natural sounding rythm, I guess.

The thing that makes me most mad is how most of Jambi is in 9/8, but when it comes to Jones soloing, they have to take it down to something he can comprehend on the fly; 6/4. This kind of proves a fact that Tool, maybe aside from Carey, can't actually count odd time sigs, but simply memorize the rythms of the different riffs, which isn't being technical. It's what you said, Kage; throwing something out of whack simply to say it's out of whack

What a real man does is write a riff in 17/16 while having the rest of the song in 4.

/cues Adrian Belew

:p

Danny, on the other hand, invented time signatures and is their god.

This I will not debate. I mean. Who solos in 22/4 anyways? Shi'

PS: No one say anything about fusion.

[QUOTE=Dr. Jake Destructo]Haha, yes, I have them on my Myspace. How epic is that? :cool:

Kage - I agree with you in a few cases. The 11/8 riff in Rosetta Stoned that is actually 3 measures of 3 and one measure of 2..It's like Adam just chopped off the last note of the 4th arpeggio to say "Yup, it's in an obscure time sig, what now, 4/4?"

But then in a case like the main riff in the first part of Right In two that is also in 11, I think that's a great implementation of a complex-ish time signature. It's a very natural sounding rythm, I guess.

[B]The thing that makes me most mad is how most of Jambi is in 9/8, but when it comes to Jones soloing, they have to take it down to something he can comprehend on the fly; 6/4. This kind of proves a fact that Tool, maybe aside from Carey, can't actually count odd time sigs, but simply memorize the rythms of the different riffs, which isn't being technical. [/B]It's what you said, Kage; throwing something out of whack simply to say it's out of whack

What a real man does is write a riff in 17/16 while having the rest of the song in 4.

/cues Adrian Belew

:p[/QUOTE]

There are places where this can be proved wrong. The Rosetta Stoned solo has I think the most complicated rhythm section in all of Tool's songs.

Jambi probably just needed that simple breakdown. Well, it did IMO

edit:

Oh man, I'm hearing the amazing drums in Right In Two again...this is up there for DC.

[QUOTE=Dr. Jake Destructo]Haha, yes, I have them on my Myspace. How epic is that? :cool:

Kage - I agree with you in a few cases. The 11/8 riff in Rosetta Stoned that is actually 3 measures of 3 and one measure of 2..It's like Adam just chopped off the last note of the 4th arpeggio to say "Yup, it's in an obscure time sig, what now, 4/4?"

But then in a case like the main riff in the first part of Right In two that is also in 11, I think that's a great implementation of a complex-ish time signature. It's a very natural sounding rythm, I guess.

The thing that makes me most mad is how most of Jambi is in 9/8, but when it comes to Jones soloing, they have to take it down to something he can comprehend on the fly; 6/4. This kind of proves a fact that Tool, maybe aside from Carey, can't actually count odd time sigs, but simply memorize the rythms of the different riffs, which isn't being technical. It's what you said, Kage; throwing something out of whack simply to say it's out of whack

What a real man does is write a riff in 17/16 while having the rest of the song in 4.

/cues Adrian Belew

:p[/QUOTE]
You were able to give solid proof for what I was saying. It's definately not all the time, but it's certainly there.

*high five* for Adrian Belew. He is one of my favorite guitarists and an amazing musician.

[QUOTE=Huber]There are places where this can be proved wrong. The Rosetta Stoned solo has I think the most complicated rhythm section in all of Tool's songs.

Jambi probably just needed that simple breakdown. Well, it did IMO

edit:

Oh man, I'm hearing the amazing drums in Right In Two again...this is up there for DC.[/QUOTE]

Regarding Jambi, the solo is my favorite part of the song, and one of my favorite spots on the album, but still, just so many things tell me it's wrong, yet it sounds so right. :p

Salivation: Here's my list of King Crimson song recommendations:

21st Century Schizoid Man
Cat Food
Lizard
Lark's Tongues in Aspic Pt 1
Fracture
Red
Indiscipline
THRAK
One Time
Level 5
Eyes Wide Open

OK so if H. Isn't about Heroin, what's it about? I've always wondered.

[QUOTE=UpperDecker]OK so if H. Isn't about Heroin, what's it about? I've always wondered.[/QUOTE]
It's about sex, obviously.

[QUOTE=UpperDecker]OK so if H. Isn't about Heroin, what's it about? I've always wondered.[/QUOTE]

What i've gotten out of that song is that it is about the relationship between Maynard and his son.

From Toolshed.net faq

[QUOTE]G30. OK, they have a song called "H." What's it stand for?

The working / early title for this song was "Half Empty." The H likely stands for that (or "Half Full"). It may represent the old "half-empty is interchangeable with half-full" notion. Of course, it could also stand for anything else. It's a safe bet that it does not stand for Heroin.

G31. "H." is great, but what's it about?

When introducing this song live in 1996, Maynard touched on the idea of having an angel sitting on one shoulder and a devil sitting on the other. In at least one interpretation, the song is about being very close to someone who is tearing you apart, someone you can't bring yourself to leave, but someone who will destroy you because you can't leave them. It is the price you pay for being close to them; they aren't doing it on purpose: "considerately." [/QUOTE]

Sounds quite plausible.

[QUOTE=One Groovin Clown]What i've gotten out of that song is that it is about the relationship between Maynard and his son.[/QUOTE]
Right, it's about sex, obviously.

[QUOTE=UpperDecker]OK so if H. Isn't about Heroin, what's it about? I've always wondered.[/QUOTE]

It's clearly about an ambigious destructive relationship. This is where you can say it's about Heroine, a man and a woman, a son and a father, etc.