I think it's quite clear to anyone who chooses to see it that, even on this tour, they really enjoy hitting the road and performing live. Even grumpy-pants in the back.
I really enjoyed this little mini-tour, and the one more chance to see the boys before another "hiatus" or whatever. Now... I'm ready to hear some new shit.
I wouldn't expect a new album/tour until at least early 2011. I think they're too mischievous/clever NOT to end their next bout of touring right around, oh... say, December of 2012? :)
Not to say they'll "end it all" then, but it'd be too much of a tease to all of us nutballs not to do it. Listen to/read some interviews from over the years. They LOVE to rile the fanbase up.
I agree that this thread is almost too unbearable to read anymore, flaming is and always will be the backbone of any online community.
Regardless of your opinion of Wings/!0K Days, it's 17.5 minutes of well composed, emotional music (lyrics and instrumental). Seeing them pull that off live is worth something.
As far as a new album/tour - I wouldn't expect anything until 2011. MJK is too distracted with other stuff to write lyrics to a whole new album, whether the music is written or not. And I hope they don't do a "end of the world" themed tour in 2012 - that shit is so cliche now. I'll cite: http://www.youtube.com/watch?v=cyCCd...eature=channel
Everyone is entitled to their own opinion, and if you say 10000 days was not as masterful as lateralus, I will agree. but to come to these forums and say that 10000 days was a "terrible disapointment" is utter bullshit.
I agree that this thread is almost too unbearable to read anymore, flaming is and always will be the backbone of any online community.
Regardless of your opinion of Wings/!0K Days, it's 17.5 minutes of well composed, emotional music (lyrics and instrumental). Seeing them pull that off live is worth something.
As far as a new album/tour - I wouldn't expect anything until 2011. MJK is too distracted with other stuff to write lyrics to a whole new album, whether the music is written or not. And I hope they don't do a "end of the world" themed tour in 2012 - that shit is so cliche now. I'll cite: http://www.youtube.com/watch?v=cyCCd...eature=channel
On your last point, that's why I suggested this might be their last tour. Tool will have to call it a day at some point, and I don't see them going out Eagles-style with a 4 year+ "Farewell" tour. Instead, I see them doing it like the tour they're doing now. Low key, little fanfare, no new album to support, and playing what they want to play. The signs are further compounded by the way they stand together side-by-side at the intermission during most of the shows on this tour. As if to say "This is Tool- remember it".
Now, I'll grant you I am probably way off base with this. But hey, that's what this is forum is for! Idle speculation. :)
Maynard aside, i think tool have enough respect for the fans to at least tell them its a farewell tour. Im positive this is not a farewell tour and i look forward to a new album in the near future. A new album in which im prepared to check my overinflated expectations at the door, and pursue with an open mind.
And i loved 10k days. For very different reasons than lateralus and Aenima though.
musically, lyrically, melodically, rhythmically, etc etc - it does not ever get close to the upper echelons that Aenima and Lateralus were operating on.
Excuse me? Rhythmically, melodically? Do you know anything about the constructions of rhythm and melody? I mean, why am I even asking...if you're saying this, you clearly don't. For all your would-be intelligence, you don't have the slightest clue what you're talking about. Aenima is extremely simplistic compared to 10,000 Days...that is objectively true from a technical standpoint. The only argument you might be able to get away with is that 10,000 Days is NO BETTER than Lateralus, and in fact the rhythmic structures are actually more complex on 10,000 Days. The melody construction is also more unique now that I think of it, as far as note placement and scale composition. Like I've told all the other people who say what you've said...take some music classes, learn about the musical motifs, coda development, the metric patterning, etc that they've got going on. You will then understand why musicians like myself hail this album as Tool's best effort. It was written for formally educated musicians to sink their teeth into. If you don't fall into that category, you will unfortunately have a hard time enjoying it. This is the direction Tool is going...highly complex, sophisticated structure...a challenge to themselves and to other musicians.
Also, if it was out of your iPod in two weeks, then I urge you- URGE you- to try and force it down your own throat a little longer. It took me six months of listening non-stop before I started to understand what was truly going on musically, and I've spent the past 3 years dissecting every single detail since then. It takes much more patience than any of their previous albums. MUCH more. Give it a shot, please.
Last edited by withSpirit; 08-06-2009 at 08:11 PM..
pick up an instrument and try playing any of tool's music. some of the stuff on 10K days is ridiculously hard.
__________________ 08/30/06 Englewood,CO Coors Ampitheater, 05/08/2007 Albuquerque,NM Tingley Coliseum, 11/19/2007 Tulsa,OK Tulsa Convention Center,07/18/09 Denver,CO MileHighMusicFestival, 06/23/10 Oklahoma City,OK Ford Center, 06/28/10 Morrison,CO Red Rocks, 01/20/12 Grand Prairie,TX Verizon Theater, 01/21/12 Grand Prairie, TX Verizon Theater, 01/16/2016 Tulsa, OK BOK Center, 10/26/2016 Denver, CO Pepsi Center, 10/28/2016 Little Rock,AR Verizon Arena, 05/13/2019 St. Louis, MO Enterprise Arena, 05/14/2019 Kansas City, MO Sprint Center, 10/29/2019 BOK Center Tulsa,OK, 01/30/2022 Tulsa, OK BOK Center, 10/03/23 Loveland, CO Budweiser Event Center
pick up an instrument and try playing any of tool's music. some of the stuff on 10K days is ridiculously hard.
I can play what i have attempted on guitar relatively easily, except I had trouble on RS but that might be because it was so damn cold when i attempted it and my fingers were frozen. Vicarious is not difficult at all but the most fun to play imo
And you're weak a little fanboy who can't get it through his thick fucking skull that NOT EVERYONE FEELS LIKE YOU DO ABOUT THIS SHIT. I have my opinion, you have yours. I think it's great you like this song. I don't. And you calling me a "dumb fuck" simply because I disagree with your opinion is fucking retarded...as you probably are. For all we know YOU'RE the reason the song will never be played again because you were so fucking wasted you were either throwing up all over yourself or you chose to honor this masterpiece by slamming into 4 or 5 of your other fanboy friends in the pit while MJK was singing about the passing of his poor mother.
You, and idiots like you, are the reason MJK is what he is today. Thanks a lot.
I knew this one without having to even Google it. The only band I have seen more times than Tool: Peter Gabriel on why he left Genesis.
Peter was only 25 when he left Genesis, both his solo career and Genesis would go on to attain heights much greater than anything Genesis achieved prior to Peter leaving. Whereas Tool probably already hit their peak of popularity (doesn't mean their music won't continue to grow).
hey were you at the radio city music hall show in NYC when TOOL played Commando the ramones tribute?
Also wasnt that a very inspiring show they played in Long beach 02
man you have been to alot of TOOL shows i bet they have inspired you to do some cool shit
As far as a new album/tour - I wouldn't expect anything until 2011. MJK is too distracted with other stuff to write lyrics to a whole new album, whether the music is written or not. And I hope they don't do a "end of the world" themed tour in 2012 - that shit is so cliche now. I'll cite: http://www.youtube.com/watch?v=cyCCd...eature=channel
Yep, the whole 2012 thing is the next Y2K. Although, with the current place we are in the world, I could see catastrophe occuring within that 3 year time span easily. ANYWAY, I dont think it would be cliche for Tool to do something like that because they will execute it in the proper, classy manner.
That 2012 movie reminds me of when National Treasure came out. Pisses me off seeing Hollywood pump out white wash after white wash. Tricking the mass public into thinking the All Seeing Eye/Mason connection is all a fairy tale, same with the 2012 thing... conspiracy theories aside... Tool, if they choose to do so, could pull of a 2012 "shift" style concept with ease.
hey were you at the radio city music hall show in NYC when TOOL played Commando the ramones tribute?
Also wasnt that a very inspiring show they played in Long beach 02
man you have been to alot of TOOL shows i bet they have inspired you to do some cool shit
I was also at the Colorado Springs show when they opened with Cold & Ugly and then played Commando. That was my favorite show from the 2001/2002 period. Long Beach was a great end to a 2 year tour that began in Red Rocks for me.
Music in general has led me to do some cool shit, including a 20 year stint working in the music biz. I left that world in 2006 and enjoy music much more now that I don't have to push it for a living.
I can play what i have attempted on guitar relatively easily, except I had trouble on RS but that might be because it was so damn cold when i attempted it and my fingers were frozen. Vicarious is not difficult at all but the most fun to play imo
This is a common mistake when evaluating difficulty. It's one thing to memorize and play along with the song once you've heard and seen Adam do it. It's another thing to write something like that, make it perfectly compliment 3 other people, and then play live what you've written with no one but yourself as a guideline, even improvising now and then. It's an extremely difficult feat to cover a Tool song with a live band, if you've ever tried it...very very hard. I challenge you...put together a Tool cover band. Try playing those guitar parts with Justin playing a harmony underneath, Danny playing a polymeter on top, and Maynard's tricky vocal patterns in your ear while you try and focus on playing the melody perfectly. Then try putting our own spin on it, or extending the song. It becomes nearly impossible for anyone who is not incredibly gifted. When the greatest composer in the world writes an orchestra piece, no single part is that difficult if you isolate it and play it by itself. it's the whole that is so astounding.
I'd like to take this time to briefly show you and everyone else an example of that. Consider the following at the very end of Rosetta Stoned (at 10:29):
Adam opens up the outro with a 13/4 riff, which is an odd rhythm in itself. Then (at 10:40), on the 4th quarter note of Adam's 3rd measure on guitar, Maynard begins singing in a 5/8 with Justin and Danny in sync, OVER Adam's 13/4. Not only did this just become a polymeter, it became a polymeter constructed of two different ODD rhythms. Not only is it a polymeter constructed of two odd rhythms, but one rhythm is being played to the QUARTER note, and the other rhythm is being played to the EIGHTH note. Then (at 10:47), on the 8th quarter note of Adam's 4th measure, Danny begins playing a syncopated 3/4. So he has switched from playing a 5 on the eighth note to playing a 3 on the quarter note. The polymeter has now become what I call a triple polymeter, and it's ALL in odd rhythm: we have Adam playing a 13/4, Danny playing a 3/4, and Maynard and Justin rocking a 5/8. Then (at 10:54) at the end of Adam's 5th measure of 13/4, he switches from playing a 13 on the quarter note (13/4) to a 7 on the eighth note (a 7/8 groove). Maynard and Justin continue pounding the 5/8, while Danny changes his syncopated 3/4 to a smoother double-bass 3/4. Notice that at this same point (10:54), after the rhythmic chaos that has just ensued, ALL four members have matched up to begin a new measure in EACH of their rhythms.....Adam cranks his 7/8, Danny plays his 3/4, and Maynard and Justin continue with the 5/8. Also at this point, Adam begins playing the exact same tune that Maynard is singing, but of course in a different rhythm. These separate rhythms then go on to overlap eachother for 10 measures of Adam's 7/8, 14 measures of Maynard/Justin's 5/8, and 11 and 2/3 measures of Danny's 3/4...until the bitter end of the song (god damn! shit the bed!). Wait...11 and 2/3 measures by Danny? Yep, he removes the last quarter note from his final measure and splits the last 5 notes into two measures of 5/8 to match the final bass notes, final vocal notes, and the final two guitar notes...all of this to pound your face with the last two chords: God damn! Shit the bed!
The closing triple polyrhythm pans out essentially like this (hard to be exact on here):
Notice how precise they were, starting on the only note of Adam's opening riff they possibly could have in order to all four match up at the beginning of the part I just mapped out, with all four finishing their patterns at 70 beats, and Danny cutting off his last note to mesh with the rest of the band for the "god damn! shit the bed!" line. Two parts are played to the eighth note, and one part is played to the quarter note. But you'll notice if you factor Danny's 3/4 up to a 6/8 count...it's a 5, 6, and 7 count all being played to the 8th note on top of one another. Such is the musical mastery of Tool. These things are meticulously planned out. There is no possible way this can be played without extreme amounts of forethought and mathematical calculation, for those of you thinking this might have been an accident...it simply cannot occur that way. That's why it's so interesting once you realize that something like this was going on in their heads during the writing process.
Not only that, but each member was actually changing the polymeters he was playing INSIDE of the polymeters that the other 3 members were playing...all in odd rhythm. Absolutely incredible. It would go like this....
Adam: Start_____________Change________________ End
M/Jus: ______Start_____________________________ End
Dann: ______Start__ Change______________Change _End
This is Tool, and similarly 10,000 Days: the whole is greater than each individual part. And keep in mind, this was just the last 42 seconds of one song.
This is a common mistake when evaluating difficulty. It's one thing to memorize and play along with the song once you've heard and seen Adam do it. It's another thing to write something like that, make it perfectly compliment 3 other people, and then play live what you've written with no one but yourself as a guideline, even improvising now and then. It's an extremely difficult feat to cover a Tool song with a live band, if you've ever tried it...very very hard. I challenge you...put together a Tool cover band. Try playing those guitar parts with Justin playing a harmony underneath, Danny playing a polymeter on top, and Maynard's tricky vocal patterns in your ear while you try and focus on playing the melody perfectly. Then try putting our own spin on it, or extending the song. It becomes nearly impossible for anyone who is not incredibly gifted. When the greatest composer in the world writes an orchestra piece, no single part is that difficult if you isolate it and play it by itself. it's the whole that is so astounding.
I'd like to take this time to briefly show you and everyone else an example of that. Consider the following at the very end of Rosetta Stoned (at 10:29):
Adam opens up the outro with a 13/4 riff, which is an odd rhythm in itself. Then (at 10:40), on the 4th quarter note of Adam's 3rd measure on guitar, Maynard begins singing in a 5/8 with Justin and Danny in sync, OVER Adam's 13/4. Not only did this just become a polymeter, it became a polymeter constructed of two different ODD rhythms. Not only is it a polymeter constructed of two odd rhythms, but one rhythm is being played to the QUARTER note, and the other rhythm is being played to the EIGHTH note. Then (at 10:47), on the 8th quarter note of Adam's 4th measure, Danny begins playing a syncopated 3/4. So he has switched from playing a 5 on the eighth note to playing a 3 on the quarter note. The polymeter has now become what I call a triple polymeter, and it's ALL in odd rhythm: we have Adam playing a 13/4, Danny playing a 3/4, and Maynard and Justin rocking a 5/8. Then (at 10:54) at the end of Adam's 5th measure of 13/4, he switches from playing a 13 on the quarter note (13/4) to a 7 on the eighth note (a 7/8 groove). Maynard and Justin continue pounding the 5/8, while Danny changes his syncopated 3/4 to a smoother double-bass 3/4. Notice that at this same point (10:54), after the rhythmic chaos that has just ensued, ALL four members have matched up to begin a new measure in EACH of their rhythms.....Adam cranks his 7/8, Danny plays his 3/4, and Maynard and Justin continue with the 5/8. Also at this point, Adam begins playing the exact same tune that Maynard is singing, but of course in a different rhythm. These separate rhythms then go on to overlap eachother for 10 measures of Adam's 7/8, 14 measures of Maynard/Justin's 5/8, and 11 and 2/3 measures of Danny's 3/4...until the bitter end of the song (god damn! shit the bed!). Wait...11 and 2/3 measures by Danny? Yep, he removes the last quarter note from his final measure and splits the last 5 notes into two measures of 5/8 to match the final bass notes, final vocal notes, and the final two guitar notes...all of this to pound your face with the last two chords: God damn! Shit the bed!
The closing triple polyrhythm pans out essentially like this (hard to be exact on here):
Notice how precise they were, starting on the only note of Adam's opening riff they possibly could have in order to all four match up at the beginning of the part I just mapped out, with all four finishing their patterns at 70 beats, and Danny cutting off his last note to mesh with the rest of the band for the "god damn! shit the bed!" line. Two parts are played to the eighth note, and one part is played to the quarter note. But you'll notice if you factor Danny's 3/4 up to a 6/8 count...it's a 5, 6, and 7 count all being played to the 8th note on top of one another. Such is the musical mastery of Tool. These things are meticulously planned out. There is no possible way this can be played without extreme amounts of forethought and mathematical calculation, for those of you thinking this might have been an accident...it simply cannot occur that way. That's why it's so interesting once you realize that something like this was going on in their heads during the writing process.
Not only that, but each member was actually changing the polymeters he was playing INSIDE of the polymeters that the other 3 members were playing...all in odd rhythm. Absolutely incredible. It would go like this....
Adam: Start_____________Change________________ End
M/Jus: ______Start_____________________________ End
Dann: ______Start__ Change______________Change _End
This is Tool, and similarly 10,000 Days: the whole is greater than each individual part. And keep in mind, this was just the last 42 seconds of one song.
Jesus christ, calm down. Just close your eyes and groove.
No, he's just a 10KD humper. If DC saw his long winded dissertation on the last 20 seconds of Rosetta Stoned, I think he would have enough material to get a restraining order on that guy.
withspirit...do you have any samples of your original odd meter madness?
No, he's just a 10KD humper. If DC saw his long winded dissertation on the last 20 seconds of Rosetta Stoned, I think he would have enough material to get a restraining order on that guy.
withspirit...do you have any samples of your original odd meter madness?
http://en.wikipedia.org/wiki/Edgard_Var%C3%A8se
Danny Carey would shake my hand as a fellow percussionist.
Danny Carey would shake my hand as a fellow percussionist.
I like the restraining order idea better. If you got to talk about that with DC, I'm sure he would have a different approach in terms of explaining what he was going for. The band is a democracy, so I dont think he made everyone play those parts the way they are. So do you have any samples of your odd time skills? Most "real percussionists" have recordings of what they do.
I like the restraining order idea better. If you got to talk about that with DC, I'm sure he would have a different approach in terms of explaining what he was going for. The band is a democracy, so I dont think he made everyone play those parts the way they are. So do you have any samples of your odd time skills? Most "real percussionists" have recordings of what they do.
Danny Carey didn't design that polymeter. It was a collaborative effort by everyone. Each member of the band understands rhythm. "Rhythm" fundamentally has nothing to do with drums. It has to do with how many notes a melody or a beat lasts. Each member of the band plays in various rhythms on every Tool album. They are not designed by Danny Carey. I'm not sure where you are getting that from. And yes, I do session drumming for various projects, so I have plenty of material to showcase. Unfortunately, most of it is copyrighted, but I am allowed to send instrumental tracks, which is all you want me to show you anyways. You can send me a private message if you're actually interested in hearing some.
Last edited by withSpirit; 08-07-2009 at 12:58 PM..
bravo I actually found that an interesting read withspirit
__________________ 08/30/06 Englewood,CO Coors Ampitheater, 05/08/2007 Albuquerque,NM Tingley Coliseum, 11/19/2007 Tulsa,OK Tulsa Convention Center,07/18/09 Denver,CO MileHighMusicFestival, 06/23/10 Oklahoma City,OK Ford Center, 06/28/10 Morrison,CO Red Rocks, 01/20/12 Grand Prairie,TX Verizon Theater, 01/21/12 Grand Prairie, TX Verizon Theater, 01/16/2016 Tulsa, OK BOK Center, 10/26/2016 Denver, CO Pepsi Center, 10/28/2016 Little Rock,AR Verizon Arena, 05/13/2019 St. Louis, MO Enterprise Arena, 05/14/2019 Kansas City, MO Sprint Center, 10/29/2019 BOK Center Tulsa,OK, 01/30/2022 Tulsa, OK BOK Center, 10/03/23 Loveland, CO Budweiser Event Center
While I'm sure there wasn't quite THAT much discussion going into the actual writing of that song, I can guarantee you that they ALL are aware and understand just what that song does in terms of time signatures, polyrhythms, etc.
Rosetta Stoned is close to, if not THE pinnacle of Tool's music in terms of complexity and fucking around with crazy time signatures, etc.
Of all the songs they've done, few compare to the intensity of that song live, in my opinion. One it switches gears (the point where the lasers are introduced on this tour), that's just heaven in the form of soundwaves.
On your last point, that's why I suggested this might be their last tour. Tool will have to call it a day at some point, and I don't see them going out Eagles-style with a 4 year+ "Farewell" tour. Instead, I see them doing it like the tour they're doing now. Low key, little fanfare, no new album to support, and playing what they want to play. The signs are further compounded by the way they stand together side-by-side at the intermission during most of the shows on this tour. As if to say "This is Tool- remember it".
Now, I'll grant you I am probably way off base with this. But hey, that's what this is forum is for! Idle speculation. :)
Well, let's bring it to Junior. He'd know.
Junior, is this tour a Tool "farewell" tour?
(it's gotta be with $40 tshirts for guys and $100 signed posters) hahahahaha
(it's gotta be with $40 tshirts for guys and $100 signed posters) hahahahaha
People round here need to quit bothering Junior with stupid ass questions. Its pretty obvious he will interject when he chooses. Yes, he has answered multiple pointless questions, but this one is just asinine. I hope your just being a smart ass, poop.
Oh and on a side note... Blair keeps pissing me off more and more. I just read the latest update at toolband.com, all this talk about a cover is starting to chap my ass. Is this supposed cover ever going to see the light of day?
Last edited by Illuminus; 08-07-2009 at 07:10 PM..
Also, if it was out of your iPod in two weeks, then I urge you- URGE you- to try and force it down your own throat a little longer. It took me six months of listening non-stop before I started to understand what was truly going on musically, and I've spent the past 3 years dissecting every single detail since then. It takes much more patience than any of their previous albums. MUCH more. Give it a shot, please.
This is a common mistake when evaluating difficulty. It's one thing to memorize and play along with the song once you've heard and seen Adam do it. It's another thing to write something like that, make it perfectly compliment 3 other people, and then play live what you've written with no one but yourself as a guideline, even improvising now and then. It's an extremely difficult feat to cover a Tool song with a live band, if you've ever tried it...very very hard. I challenge you...put together a Tool cover band. Try playing those guitar parts with Justin playing a harmony underneath, Danny playing a polymeter on top, and Maynard's tricky vocal patterns in your ear while you try and focus on playing the melody perfectly. Then try putting our own spin on it, or extending the song. It becomes nearly impossible for anyone who is not incredibly gifted. When the greatest composer in the world writes an orchestra piece, no single part is that difficult if you isolate it and play it by itself. it's the whole that is so astounding.
I'd like to take this time to briefly show you and everyone else an example of that. Consider the following at the very end of Rosetta Stoned (at 10:29):
Adam opens up the outro with a 13/4 riff, which is an odd rhythm in itself. Then (at 10:40), on the 4th quarter note of Adam's 3rd measure on guitar, Maynard begins singing in a 5/8 with Justin and Danny in sync, OVER Adam's 13/4. Not only did this just become a polymeter, it became a polymeter constructed of two different ODD rhythms. Not only is it a polymeter constructed of two odd rhythms, but one rhythm is being played to the QUARTER note, and the other rhythm is being played to the EIGHTH note. Then (at 10:47), on the 8th quarter note of Adam's 4th measure, Danny begins playing a syncopated 3/4. So he has switched from playing a 5 on the eighth note to playing a 3 on the quarter note. The polymeter has now become what I call a triple polymeter, and it's ALL in odd rhythm: we have Adam playing a 13/4, Danny playing a 3/4, and Maynard and Justin rocking a 5/8. Then (at 10:54) at the end of Adam's 5th measure of 13/4, he switches from playing a 13 on the quarter note (13/4) to a 7 on the eighth note (a 7/8 groove). Maynard and Justin continue pounding the 5/8, while Danny changes his syncopated 3/4 to a smoother double-bass 3/4. Notice that at this same point (10:54), after the rhythmic chaos that has just ensued, ALL four members have matched up to begin a new measure in EACH of their rhythms.....Adam cranks his 7/8, Danny plays his 3/4, and Maynard and Justin continue with the 5/8. Also at this point, Adam begins playing the exact same tune that Maynard is singing, but of course in a different rhythm. These separate rhythms then go on to overlap eachother for 10 measures of Adam's 7/8, 14 measures of Maynard/Justin's 5/8, and 11 and 2/3 measures of Danny's 3/4...until the bitter end of the song (god damn! shit the bed!). Wait...11 and 2/3 measures by Danny? Yep, he removes the last quarter note from his final measure and splits the last 5 notes into two measures of 5/8 to match the final bass notes, final vocal notes, and the final two guitar notes...all of this to pound your face with the last two chords: God damn! Shit the bed!
The closing triple polyrhythm pans out essentially like this (hard to be exact on here):
Notice how precise they were, starting on the only note of Adam's opening riff they possibly could have in order to all four match up at the beginning of the part I just mapped out, with all four finishing their patterns at 70 beats, and Danny cutting off his last note to mesh with the rest of the band for the "god damn! shit the bed!" line. Two parts are played to the eighth note, and one part is played to the quarter note. But you'll notice if you factor Danny's 3/4 up to a 6/8 count...it's a 5, 6, and 7 count all being played to the 8th note on top of one another. Such is the musical mastery of Tool. These things are meticulously planned out. There is no possible way this can be played without extreme amounts of forethought and mathematical calculation, for those of you thinking this might have been an accident...it simply cannot occur that way. That's why it's so interesting once you realize that something like this was going on in their heads during the writing process.
Not only that, but each member was actually changing the polymeters he was playing INSIDE of the polymeters that the other 3 members were playing...all in odd rhythm. Absolutely incredible. It would go like this....
Adam: Start_____________Change________________ End
M/Jus: ______Start_____________________________ End
Dann: ______Start__ Change______________Change _End
This is Tool, and similarly 10,000 Days: the whole is greater than each individual part. And keep in mind, this was just the last 42 seconds of one song.
Can you elaborate a bit more please.
Last edited by sianspheric; 08-07-2009 at 08:07 PM..
I saw your quote in the discussion thread about sitting in front of the pizza stand at 7:30, I know I was in the same spot at that time...I was with my girlfriend and my best friend, I was wearing a black radiohead tshirt, my girl in blue, and friend in, of course, a black tool shirt...
It never gets old hearing people say that they "teased" Prison Sex. :)
This one, I totally get why people say it. But still... Adam executes a LOT of pick scrapes. They're one of his favorite moves. Just because you hear a slight pick scrape for atmosphere before a song doesn't mean they're fucking with you. :)
Now... if you see that "blonde" Les Paul trot out and THEN you hear a pick scrape... brace yourself.
On that note, it always amazes me the mastery Adam displays on a move so simple as a pick scrape. The man really has those down to an art form.
People round here need to quit bothering Junior with stupid ass questions. Its pretty obvious he will interject when he chooses. Yes, he has answered multiple pointless questions, but this one is just asinine. I hope your just being a smart ass, poop.
Oh and on a side note... Blair keeps pissing me off more and more. I just read the latest update at toolband.com, all this talk about a cover is starting to chap my ass. Is this supposed cover ever going to see the light of day?
hahahahhaha, my orginal "ask junior" post was a joke, particularly joking the fact that people do ask junior a good handful of off-the-wall questions. So yes, I was just being a smart ass. I figured the joke about the dollar amount of the t-shirts would make that obvious.
But thanks for telling the rest of us how to and how to not interact with junior.
As for the cover, we totally got it at the Fairfax, VA show. They covered 3rd Eye Blind's "Semi-Charmed Life." Blew me off my ass, so good. I would've loved to have heard them cover Semisonics "Closing Time," but what can ya do?
Last edited by markuspoop; 08-08-2009 at 10:02 AM..
