Until and unless Tool port their music over to streaming services like Spotify, our playlist of YouTube links will have to do for now. We’ve organized those here based on common keys, intros or outros, themes, and delivery, and tried to split the difference between bigger and lesser hits across 76 minutes of music-enough for a jam-packed CD, a trendy cassette, or three slabs o’wax as shown below. That’s a Grammy-winning, MTV-flaring, radio-bursting set of tracks to drag people in and down into the rest of the band’s catalog like so much quicksand. Every Tool LP has approached or surpassed double-platinum status in the US and birthed at least two singles, all cracking the top 40 on subsidiary Billboard charts “Schism,” from Lateralus in 2001, even landed on the proper Top 100. So how are new fans brought into the fold, and discussions of Tool’s legacy framed? Try surprising listeners both casual and committed with the breadth of the band’s success throughout their career. With just that album on our timeline, a lack of Tool commentary unfortunately makes sense.Īt last, fresh meat is coming with a 2019 LP and a legitimate tour behind it. But prog-metal cognoscenti have celebrated the lore and legend of Tool music more so than actual Tool music since the dust settled on 2006’s 10,000 Days. At first this discovery seems puzzling: We gleefully embrace metal, and when it comes to the beloved Los Angeles quartet we’ve certainly reported plenty of news about them, placed their work in context through features and countdowns, and reviewed band members’ other projects. Personally I thought the song Stinkfist off of Ænima was the perfect sounding Tool song so I used that as a benchmark, but with even more aggression if that was possible.In our 16-plus years of existence, Treble has somehow never written a dedicated critique in response to the music of Tool. It didn’t work at all for vocals but ended up on a guitar solo and sounded wild. It was a guitar pickup mounted onto a piece of pipe. Maynard and I spoke of recording his voice in weird ways, and that’s where the pipe bomb mic came into being. Adam had an idea for a pedal that would crossfade sound from dry to wet, so I had a few different ones made until the guys at Barge Concepts made one that worked flawlessly. Justin had played thru a Gallien-Krueger amp somewhere while guesting on another record so he was trying them out. Then I’d have it built or bring gear by that might do the trick. “During rehearsals I’d listen and observe what the guys were playing, and ask if there was anything in their wildest imaginations they’d want to try. I was trying to learn the arrangements and understand what they were playing the time signatures and accents were a real challenge for me and the sheer power of the band in rehearsal was something I wanted to make sure we got on tape.”ĭid the band tell you exactly how they wanted the album to sound? There’s no playing to a click track in that band, they’re so tuned into each other and it was incredible how they locked in and took the music to another level. I attended rehearsals for about a month to get to know the music better, and would take notes on when parts felt great and what may have been different. I thought Maynard must have been playing some percussion as well but that was all Danny – it blew my mind how he was triggering sounds in a computer by integrating the Mandala pads into his drum kit. ![]() It sounded like eight guys were playing in that room. Joe Barresi: “When I met the band for the first time, I remember standing outside their rehearsal room with their manager waiting for a song to end before we walked in. How did the recording process for 10,000 Days begin? Joe explains this and more, as he shares his memories of working with the band on this landmark release…
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