Warthur The only psychodramatic occult concept album to include a repeated refrain about shitting the bed, Tool's 10,000 Days finds the band travelling further down the increasingly progressive trajectory suggested by Aenima and especially Lateralus. The evolution in the band's sound is a bit more gentle than the quantum leap between Undertow and Aenima, or even the jump from Aenima to Lateralus, but the album should be pleasing to anyone who's fond of Tool's progressive direction - though if you were more intrigued by the alternative metal style of Undertow (or the alternative-progressive fusion of Aenima) you're not going to see a return to that here, and sometimes the band's noodlings end up becoming experimental for experimental's sake rather than going anywhere interesting.

AtomicCrimsonRush A psycho-drama of technical riffing and atmospheric gloom.

Tool blaze a trail of glory on "10, 000 Days" with raucous metal riffing precision and powerful song structures. The riffs are like machines in factories churning out iconic metal prog, check out that machine gun attacks on 'Jambi' for example.

It begins with a blast of riffing elegance on 'Vicarious' with the Tool signature sound, razor edge riffs and emotive raspy vocals that echo more anger than the average screamer. The attitude of the band has always been to attack at the jugular vein of society and reveal the uglier side of humanity. The lead breaks are as well executed as the distorted riffs, such as the wah-wah vocoder effects of Adam Jones' lead guitar on 'Jambi'. Tool have a relentless rhythmic pace that is familiar to all Toolaholics, from previous albums "Aenima" and "Lateralus." The angular guitar phrases and odd time signatures are a key feature and the dark lyrics sung with so much passion by Maynard James Keenan.

On 'Wings for Marie (Pt 1)' the droning ambience of layered guitars and extended vocal intonations are ethereal and atmospheric. Justin Chancellor's bass drones menacingly and then the percussion explosion of Danny Carey augments the chilling soundscape.

'10,000 Days (Wings Pt 2)' is where the complex musicianship really comes into effect and all in 11 glorious minutes. This is a masterful track beginning with stormy distant thunder and a guitar picking phrase. The clean low key vocals speak of a river, the tales of a saviour, trials and tribulations, "a congregation gather round spewing sympathy, spare me", and "blinded by choices" you are "safely on your way". It builds with looming menace as the thunder gets closer and some violining guitar swirls, sounding like Pink Floyd's 'Empty Spaces'.

Eventually loud thunder crashes lead to a fast hypnotic motif and some more forced vocals. It kind of sits on the one note musically but is very effective with its brooding atmosphere. It breaks into a loud instrumental break powered by phased guitar and a vibrant bassline. The lead break has sustained feedback and some wonderful string bends with soaring elegance. It gets heavier at the end until the whispered portentous vocals "never lived a life, never took a life", capping of a masterful track.

'The Pot' is next beginning with a capella vocals "who are you to wave your finger you must have been out of your head". The tribal percussion and strange guitar effect is soon joined by a chugging riff, as heavy as distortion can get. The melody on this is more accessible than previous track and has the repeated phrase "you must have been high". I like the pulsing riff that locks in at the end as a snarling guitar blasts over; it is an enduring track. Keenan's guitar is interminably locked into a D minor pentatonic scale but it is recognizable as trademark Tool, and the sound really haunts well after the album is over.

'Lipan Conjuring' is one of the short Tool tracks with tribal vocal intonations and a mystical percussion feel with some guitar. It is a transition into 'Lost Keys (Blame Hofmann)', a track that really made me sit up and take notice when I first heard this album years ago. It is dominated with sustained lead notes feeling very dark and downbeat. A nurse's voice converses with a doctor about a situation of concern. They have a patient who is experiencing some kind of catatonic state. We hear his breathing and then the band launch into 'Rosetta Stoned'.

This is an 11 minute prog metal blaster, with chunky riffs and speed rapping. A very weird vocal is soon heard, overlayed growls and phased vocals enhance the ominous atmosphere. It builds eventually to the zinging guitar effects done by slashing a pick over the strings, and an excellent time sig change moves the track into a new direction. The polyrhythmic riffs are mesmirising and inspiring, and the bassline solo on this is incredible. One of the best tracks on the album without a doubt.

The last three tracks are linked well making the album culminate in some intricate riffs and time sigs. 'Intension' follows on with a weird intro of shifting glass and leaves with an stoned atmosphere of loneliness, and the air is intense with whispered rage. The bass emanates nicely and there are harmonised vocals, so effectively layered over. It is one of the quietest moments on the album, but threatens to break out any moment. When the rhythms stop a lone guitar echoes in the night, before a bass joins and then percussion. It builds to more power until the melodic vocals return. The guitar is beautiful on this song, understated and melodic.

'Right In Two' has a similar rhythm, slow and patient with soft vocals. I like Tool when they are in their melancholic mood but at times I long for a blast of distortion to keep things interesting. This one has some psychedelic textures but is overall replete with chilling lyrics such as the "2001: A Space Odyssey" inspired verse; "Monkey killing monkey killing monkey over pieces of the ground, Silly monkeys give them thumbs, they make a club, and beat their brother down, How they survive so misguided is a mystery, Repugnant is a Creature who would squander the ability, To lift an eye to heaven, conscious of his fleeting time here." It builds to a heavier section, with the repeated "cut and divide it right in two."

Tool finish albums with disturbing material, such as the Area 51 rant on "Lateralus", and here is no exception with the esoteric 'Viginti Tres', Latin for 23. After a cosmic pulse sounding like a planetary signal, a deep voice is heard uttering a mystical phrase, and then it emanates into oblivion. As scary as Tool like to get and one that has been interpreted over the years as leaving the body into some state of transcendental realm. The uttered phrase "asisco" apparently means to "take-in" or "accept", spoken in the angelic language known as Enochian. It makes more sense understanding that the album was dedicated to Maynard James Keenan's mother, who died prior to its recording, and the voice may be taken as a means of God inducting his mother into Heaven. The pulse then may be the life machine she was plugged into prior to passing over. Interestingly enough if one syncs this track up to 'Wings For Marie (part 1)' it makes even more sense, as many have discovered. This form of syncing two tracks also has significant meaning along with the stereographic album artwork with the use of the special stereogram binoculars. The track has developed a cult following for all these reasons.

Tool again have produced an intriguing album with masterclass musicianship, driven by angular guitar riffs and powerful vocals. It has some of the most innovative album design art ever, complete with those unique glasses making everything jump out in real 3D. The psycho-drama concept is heavy and hard to grasp as always but it is the music that really makes Tool such an endearing act. "10, 000 Days" is as good as "Lateralus", forever my favourite of theirs, and this is well worth a visit now and then; a wonderful example of the band as inventive metal geniuses.

The Angry Scotsman 1,813 days in the making

Or about 5 years, in typical Tool fashion.

Time to eat some crow: At first, I didn't like this album and said stuff like "This sounds like Tool minus all the good" and it felt "10,000 days long", but I was 17 years old then. Years later, I listened again and really loved it. "10,000 Days" is Tool beyond question, it has the heavy guitars, prominent bass, trance like drumming and creative lyrics we expect from Tool, yet is a bit different from previous albums.

It's much less aggressive, both musically and vocally. There is not a harsh vocal to be found here. The post-rock/metal style touched upon with "Aenima" and "Lateralus" is really evident on this album. Atmospheric songs that gradually build to powerful climaxes, this is a very introspective album. It takes a bit of patience.

No surprise about this, as the foundation for the album is the 27 years, about 10,000 days, that Maynard had to watch his mother struggle through before passing on in 2003. Heavy, somber stuff for sure. There is a 17 minute, 2 piece movement dedicated to this, "Wings for Marie, Pt. 1" and "10,000 days (Wings, Pt. 2)" both of which build to powerful, emotional crescendos. Beautiful, moving music here.

Another 2 piece movement comes later on, "Lost Keys (Blame Hoffman) which must be a reference to LSD creator Albert Hoffman, and "Rosetta Stoned". The first part is a cool, spaced out song where a nurse and doctor talk about a mysterious patient with no physical trauma. Ends with the doctor saying "What's happened? Tell me everything" and we jump into "Rosetta Stoned" which tells us everything.

Maynard speaks quickly and some effect is used on his voice, so I had to look up the lyrics to understand most of it. When I did, a wild story unfolded about some guy tripping on Ecstasy and DMT outside Area 51 who is told by an alien he is the chosen one, who must spread the message to everyone. Too bad he forgot his pen. Fearing he's gone insane and was dying, (much like Hoffman's experiment with LSD) this is probably why he stumbled into the hospital with no ID and physically fine. Another lengthy post influenced song that takes some patience but is oh so rewarding.

The other songs are the rocking "Vicarious" about our obsession with seeing death and tragedy, long as it's not first hand. "Jambi" is a cool song with an awesome talk box guitar solo, "The Pot" is perhaps the weakest song, but still a good one for sure. "Intension" is a real mellow song in the same building style, though for a change of pace reaches a cool, trippy and melodic peak instead of a heavy intense one.

"Right in Two" is one of my favorite Tool songs, with truly great lyrics about how angels must look at us talking monkeys with bewilderment at how we use our gifts to kill each other over "pieces of the ground" and not realize that "Eden has enough to go around". Song has a beautiful tabla solo from Carey and ends on the album on a great note.

At least for me since I have removed the finale "Viginti Tres" from my computer. It's 5 minutes of noise, seriously. What an odd way to end an album, until you remember this is Tool so it's probably intended to be played with another song...my guess was "Wings for Marie, Pt. 1". This sync up was on youtube and it did work really well! Apparently, the true intention is to sync up Wings for Marie, 10,000 days and Viginti Tres all at once. After looking this up on youtube it really did work amazingly well, and kudos to these people but I simply don't have the care to do so.

Thankfully, Tool cut back on the deliberate filler here. "Lipan Conjuring" isn't bad actually, but just useless. Unless it's supposed to sync with another song which could be the case...if someone cares enough to find out let me know.

So, a more subdued, patient and psychedelic Tool album "10,000 Days" is another fine output. As usual the songs are all good and the purposely made filler/pretentious wankery is a bit of a buzzkill but that's Tool for you, and the music is top notch. Relaxing and powerful, humorous and deep this is another great album from Tool.

Four Stars

UMUR "10,000 Days" is the 4th full-length studio album by US alternative/ progressive rock/ metal act Tool. The album was released in May 2006 by Tool Dissectional/ Volcano Entertainment.

From the first second of the first track "Vicarious" there is no doubt that you´re listening to a Tool album. The band have created a sound over the years that´s unmistakably their own. A strong and adventurous rythmic foundation is the backbone of the often dark and desperate sounding tracks. The desperate part is mainly due to frontman Maynard James Keenan´s vocal delivery. Often mellow and subdued but occasionally bursting out anger and frustration.

The album is 70 minutes long and the songs are generally rather long and intricate, but some are actually rather repetitive, stoned and well...too long. I miss a bit more aggression and progressive playing and could have done without the often unneccessary long mellow building parts/ songs. Some even build toward climaxes that aren´t very powerful and some build towards climaxes that never come. If you sense a bit of frustration here your observation is right. I really miss the more simple, powerful and direct delivery from the first two albums. Much of the material on "10,000 Days" sound like it was conceived while jamming stoned and completely lack aggression of any sort. It´s mellow and and probably well suited for chilling out, but I miss structure and memorability. When Tool decide to rock out, they shine though, but unfortunately it happens so rarely on this album that I´m left frustrated.

The musicianship is of course excellent and the production is wonderful, so no problems there.

So with my above complaints about the songwriting on the album in mind I can´t say I think "10,000 Days" is an artistically succesful album. The band don´t expand upon what they´ve done in the past either and in the end I´m disappointed that it took Tool five years to come up with so little. Frustrated or not I still think there are enough quality material on "10,000 Days" to warrant a 3 star rating, and people more into meditative, mellow and stoned jamming type music might find this album more appealing than me, so don´t just take my word for it. This is the kind of album that you need to listen to yourself to see if it appeals to you.

bartosso More accessible and psychedelic at the same time?

Rating Tool albums is so difficult for me that it almost hurts. I'm a huge fan of this band, and I like this album. I really do, but when it comes to rate it I have a problem. First of all I don't find the concept and atmosphere to be equally appealing as this of LATERALUS. It is distinctive, it is different. I'm far from calling this an album of rehashed ideas! But LATERALUS is a masterpiece which transfix with absolutely unique and sophisticated ambiance and concept.

The atmosphere of 10000 DAYS is more diverse, there is more space for humorous elements in it. Just listen to "Lipan Conjuring" with some Indians singing "Neeew! Toooooool! Coooool!". It isn't so solemn. Tool manages to create diverse concept which sometimes is even disturbing (Lost Keys for example) or extremely moving (The title track is the best example). The psychedelic elements merge with more rock ones making up very original modern psycho-metal work.

The aforementioned title track is kind of novelty in Tools music, mostly because of composition and ambiance. Very pleasant surprise to be honest. Composed in evolutionary, slowly-developing way, this piece is amazingly emotional. It might be the best track in this album, the most moving and original. I always try to avoid describing the tracks in detail. So there is my metaphor about this song. It's hypnotizing like a view of stormy sky and just equally disturbing. The way the piece evolves causes thrills - somethings gonna happen, the sky is rough. The atmosphere thickens with every sound just to explode with... and oh, it would be too detailed description, sorry.

For some people the construction of this album may seem strange. I mean, there are two heavy and energetic songs followed by two very slow and atmospheric pieces. Than these two, so-called fillers come, which are, in my personal opinion, quite nice. It's obvious that Tool wanted to change this "piece-interlude-piece-interlude" pattern, but it actually worked slightly better than the pattern of 10000 DAYS.

For me this album is great, but after five years of break it could be better. Tool accustomed us to be breathtaking but after listening to 10000 DAYS I've been breathing normally. Still, I think this record is a bit underrated since it is outstanding post metal release. Recommended!

Tracks ratings: 10/10: 10,000 Days (Wings, Part 2); The Pot 9/10: Vicarious; Rosetta Stoned 8/10: Right in Two; Jambi 7/10: Intension; Wings for Marie, Part 1

Conor Fynes '10,000 Days' - Tool (7/10)

On all of their previous records, Tool have received some pretty heavy positive acclaim for their trippy blend of art rock and sludge metal. While I've never been a huge head-over-heels fanboy for this band, I can see why people like them, and they're definately a talented bunch. While the de facto magnum opus 'Lateralus' is probably better by album-standards, I have to say I've gotten more enjoyment over the years listening to this one more. There are some songs on it I really don't care for, but more songs that I really love.

Clocking in at about seventy five minutes long, this is a pretty lengthy piece of music, and theres quite alot to chew here. While they still use alot of their ambitious innovative technique here, alot of the songs here have a way about them that would make them a bit more 'universally appealing' to the commercial audience then any of the material on past releases. Hell, I have alot of friends who know nothing of prog that think 'The Pot' is an awesome song.

While the more accesible songs are great to listen to, the most memorable piece of this album was the most progressive piece on the album, 'Rosetta Stoned' (paired with it's extended introduction, 'Lost Keys.') Based loosely on famed Travis Walton's apparent alien abduction experiences (after which he wrote a book about it) the lyrics are ironic yet profound; it's not very often you get a dose of humour in deepness. It's my favourite Tool song, and a very heavy track at that. Near perfect.

When I think of '10,000 Days,' I think of it in three general parts, or sections. The first section of the album are the rockers ('Vicarious,' 'Jambi,' and 'The Pot') which '10,000 Days' is probably best known for. All of these songs are great tracks, and unlike a typical hard rock track, they don't get old after a simple few listens.

The second part (and the obvious highlight for prog fans) is the epic/experimental side of things, which would include 'Wings For Marie Pt I & II,' 'Rosetta Stoned,' and the two segues. 'Wings For Marie' is the reason '10,000 Days' can be considered Tool's most personal release, as it is about Maynard Keenan's mother dying. While the song is a bit too repetitive and one-tracked for a piece of it's length, there is alot of uncompromised emotion here; something not usually expected from a drug-related band like Tool.

The third part however, are the last two tracks, 'Intention' and 'Right In Two.' It is because of these two songs I can't give '10,000 Days' a superb rating. They are very boring, and a good closer should always leave the listener in some sort of shock. Instead, the final 'bang' is further towards the middle of the album, and the end of 'Rosetta Stoned.' There shouldn't be a two song (and a bonus atmospheric track I haven't touched on it) epilogue to an album; especially not songs of these lengths! 'Right In Two' can at least be listened to as a song, but 'Intention' is one of the most boring 'prog' songs I've listened to in a while. A bit of a dissapointing end to an otherwise great album.

'Vigniti Tres' isn't so much music as just soundscaping (for the sake of soundscaping.) It's sort of chilling, and sounds like you're standing in an abandoned futuristic subway tunnel of sorts... It's pretty cool to listen to once in a while, and certainly more entertaining than the two songs that come before it. Despite the rather weak ending however, '10,000 Days' is my most enjoyed release from Tool (albeit probably not the best album; theres a difference.) A worthy addition to the Tool legacy.

Nightfly Tool continue with their distinctive Progressive Metal style they have developed since they really found their feet on third release "Aenima". Opening two tracks "Vicarious" and "Jambi" are as good as anything they have done so far, full of the trademark Tool sound. All band members stamp their own distinctive style on the songs and you know you couldn't be listening to anyone else.

An excellent production allows each band member to shine through. It's great to hear Bass playing of the excellence shown by Justin Chancellor shine through with such clarity. Although not sounding Like Chris Squire or Geddy Lee his playing is allowed to shine the way it does with these guys being well up in the mix.

Guitarist Adam Jones alternates between heavy riffing and lighter shades with ease which has always been a distinctive characteristic of the Tool sound. One of the album highlights being his soaring playing on fifth track and perhaps album highlight, "The Pot".

Danny Carey shows why he's one of the best and perhaps underrated Drummers in Rock at the moment with powerful well executed playing throughout the album.

Last but not least, Maynard James Keenan powerful vocals are on top form demonstrating just what a great singer he is.

The album does tail off a bit towards the end which stops it being the equal of "Lateralus" but overall a fine release.

By the way, if you don't like the music you can have hours of fun with the 3D glasses attached to the cover looking at the images inside the booklet.

Sleepwalker 10,000 Days is Tool's fourth full-length studio album, being released in 2006. The album's sound is very similar to the sound the band had created on Lateralus, though it is more eclectic and the band explores some territories on it they didn't on Lateralus. The band combines the modern style of Lateralus, which is full of triplets and grunge-like riffs, with exotic sounding drums and some of Tool's most emotional and ambitious pieces ever.

Some examples of this unique musical style are songs like the powerful "Right In Two", the softer "Intension" and the epic "Wings For Marie/10,000 Days" suite. The album does feature some more conventional Tool songs though, like "Vicarious" and "The Pot", which are both more accesible than most of the other songs on the album, but are some of the best songs Tool has ever created. Not all music on the album is as fantastic as those songs though.

The album focuses less on atmosphere than Ænima, though it does feature some typical songs meant to create a certain mood. One of them being the closing track of the album, "Viginti Tres", which might sound like a somewhat dull ending but serves a much more interesting function. This means combining it with some other music on the album. I won't be too specific on it, as I don't want to spoil anything.

Also worth being mentioned is the very original artwork. The packaging contains three-dimensional pictures of the band members, artwork by Alex Grey, and other pictures. Really something that was a pleasant surprise when I bought the album.

Overall a very solid album and arguably the bands best. I rate it with four stars, as I think it is a fantastic album, but lacks that final touch to make it worth five stars.

Doomster While "Lateralus" is often considered the pinnacle of Tool's career, I personally beg to differ. Don't get me wrong, I do love "Lateralus", but their were a few things that brought it down for me - the overuse of fillers, the debatedly pretensious lyrics, and a few questionable tracks. However, their (unfortunately) least loved album, "10,000 Days" is the first Tool album I can safely call a masterpiece.

Before I begin, however, I feel I should tell about my experience with this band. This might sound really melodramaticv, but Tool are a very important band to me. You could say that they got me into heavy music, or even music, in general. When I was a frail young lad, my dad would occasionally blast "Opiate" or "Aenima" in the car during a long drive at night. I was frightened by their heavy, aggressive and incredibly dark atmosphere they portrayed. To be honest, I used to hate it at the time because of how much it scared me, but as I evolved, so did my love for the band, and music as well. Eventually, I learned to explore various types of music, mainly alt. rock, prog rock, and doom metal. And it was Tool that started it all for me.

So, anyway, about this album. 10,000 Days is Tool's latest (2006) effort. Even though it has now grown to be loved by a majority of Tool fans, it still has recieved heavy controversy and/or debate. It is true that this CD lacks the same atmosphere that albums like "Lateralus" and "Aenima" have, or the aggressiveness, but to be honest, I think that the lack of heaviness (for the main part, at least) is what makes this album obtensibly even more brilliant than past efforts. Tool's heavy songs are always amazing, but they lack the same emotion that conveys the majority of "10,000 Days". Don't get me wrong, though - their are plenty of more heavy moments on this album - it's just that these heavy moments are less angry and more focused on filtering negative emotion than trying to cave your skull in.

The opener, "Vicarious" is one such example the more aggressive moments on the album. An opening song should drag the listener in, and that's exactly what "Vicarious" does. Beginning with a spacey guitar intro, the song refuses to retract it's talons for seven minutes. The lyrics are amazing, and not as "philosiphical" as the lyrics on "Lateralus". In this song, Maynard describes how humans feed off of others misery, as long as it is not happening to them. "We all feed on tragedy, it's like blood to a vampire". "Jambi" is a blazing fast, almost thrash paced track, with a talkbox solo by Adam Jones, and some really beautiful lyrics, which, to me, act as the prelude to the following song.

"Wings For Marie/10,000 Days", the title track, is one of the many Tool songs that I can safely say is a PURE masterpiece. Everything about these two (17 minute) tracks are merely spine-chilling. The lyrics are some of the best ever penned by Maynard, a tribute to his deceased mother. I have admittedly close to crying listening to this track. Supremely beautiful...everyone needs to hear this suite before they die. Perfection.

"The Pot" is a return to the heaviness, but is arguably more controlled than the skull-crushing intensity of the opening two tracks. The song is debatedly Tool's most "mainstream" song, and is a fan favorite. The vocals and guitars play an important part as always, but this one is all about the drums and bass right here! Not my favorite Tool tune, but pretty good.

After a rather pointless but still cool and atmoshperic interlude called "Lipan Conjuring", yet another interlude arises, the four minute "Lost Keys/Blame Hoffman". It is merely a bunch of light feedback, clean riffing, and a discussion for 4 minutes. Unlike the preceeding interlude track, though, it actually has a meaning - the discussion in this song is between a nurse and a doctor, who are talking about a patient who has arrived in the hospital. The two proceed to try and talk to the patient, and after finally getting a word out of him, he begins to tell them his tale...

All of this segues right into place into "Rosetta Stoned", which describes the patient's tale in detail, and is perhaps one of the most disturbing pieces of music concieved by any bands I have ever heard. The song starts off quite humorous, with impossibly funny lyrics and vocal delivery, but then quickly becomes dead serious, the lyrics explaining the patient's LSD trip gone horribly (HORRIBLY) wrong. This song is probably the closest you'll get to hearing new "Aenima" material. Frightening, heavy as hell stuff right here.

After a stronger moment on the album, we are unfortunately introduced to a lesser track that goes by the name of "Intension". It's probably the softest, most atmospheric track on the album - it merely consists of Maynard's half-whispered vocals, a clean but tasteful guitar riff, and some atmospheric bits (as well as a hilarious hidden message in the lyrics). Despite being my least favorite song here, though, it is still rather good, especially in terms of the lyrics, and makes for a very interesting buildup to the following track...

"Right In Two" is the said following track, and is another one of the highlights of this album (and Tool's career, in my opinion), along with "Wings For Marie/10,000 Days". The song starts off really clean, soft, mysterious and even post-rockish sounding, and some amazing lyrics, describing the senseless violence caused by humanity:

"Monkey killing monkey killing monkey Over pieces of the ground. Silly monkeys, give them thumbs, they forge a blade And where there's one you're bound to divide it Right In Two."

The song, like I said, starts off subtle, but then, after a tabla drum solo by Danny Carey, explodes into a massive wall of sound, before dying down again, ending this beautiful crescendo of an album...

...Unfortunately, though, Tool got the idea that it would be good to throw in 5 minutes of noise at the albums and call it "Viginti Tres". It's not a bad filler track by any means, and it also provides a hidden track which could be segued with "Wings For Marie/10,000 Days", but it fails to end the album on the same note that masterpiece "Right In Two" would have.

All in all, despite very very little shaky things, this is, in my opinion, Tool's magnum opus, and is worthy of a 4.50 rating. If you're new to Tool, check out this album first. If you're not convinced, at least just listen to tracks 3 and 4 once - they're really THAT good.

(P.S. 1122 words in this review! That's my record, so far!)