10,000 DAYS

This album does really get to the levels of Lateralus, and after several listenings it's to me better than Aenima. It's the masterpiece that I knew I could be, on its own level.

Tool has been known for his unique sound, while it has brought a different sound in each of his four works. I think the fact of not being prolific is an important part of the character "mythical" them. Each of its membor has been highly praised in the world of professional music, especially drummer Danny Carey, one of the best of these times. Adam Jones and Maynard James Keenan also deserve their praise (with vocalist once again with his voice changed compared to previous albums), but the emphasis is definitely on 10000 Days in Justin Chancellor, who shines even more than before, with its low poignant and resounding, and I consider him the best bassist of today, definitely.

One thing that's noted in 10,000 Days is that this album shows less anger and verbal violence in music (anything Hooker with a Penis here). The exception is the opening Vicarious, which is a powerful, energetic and straightforward heavy metal that opens the album perfectly (here is a band who knows how to put great music to open their records), but even this song has no vocals insane, although the letters are no less scathing than others that Maynard has written. Then there Jambi (a reference to the Indonesian province?), Which is even better. I sample the chorus of this song, its powerful end, the guitar solo from Jones in a "talking box".

So we are led to the longest song that this band has written: Wings for Marie, composed of Wings for Marie (pt.1) and the title track 10,000 Days (Wings pt. 2). His lyrics speak of Maynard's mother, who died before this album was released, and who spent 27 years paralyzed by a stroke (the title of the 10,000 days). Man, those lyrics ... you see that he put his heart here, it's never too melodramatic, just sincere, beautiful ... And this song builds into a slow forward, she is in no hurry, there are many explosive moments here, but most of it revolves around a slow growth climate, with Maynard's vocals reaching a degree of whisper. Chancellor's bass is the driving force in the first part, and plays an important role in the second, coupled with magnificent distorted Jones' riffs and tribal Carey's drums. But like I said, the focus is on the performance of Maynard and his beautiful lyrics, the best he's ever written.

The next song is another single, The Pot. It's a hard-rock (was nominated in that category at the Grammys, as well as Vicarious), and is a powerful, great song. Highlight for the Maynard cappella vocals at the beginning, where I initially thought that whoever was singing was Ian Kenny of Karnivool. The next two songs are "fillers", the typical interludes that the band usually put on their albums (and that has been a major source of controversy here). Lipan Conjuring is just a silly corner indigenous, where it seems to be said the word "Tool". Already Lost Keys (Blame Hoffman) is more interesting, with distorted guitars and a conversation between a nurse and a physician about a patient. When this is instigated by the doctor to tell his story ("Tell me everything"), initially seems to refuse ...

... But so Rosetta Stoned begins, he sendeth rain on us a million words. Man, what a song! This is probably my favorite song of Tool and one of the best I've ever heard. It is a musical labyrinth, full of bizarre letters, polyrhythm and masterful performances of the four members (with Danny Carey as highlighted, showing why it is one of the best drummers of today). I barely have words to describe it, such is its strength. Epic!

The end of the album reminds me of the end of Lateralus. The ninth song is Intension, which makes me very reminiscent of Disposition of the previous album, using tablas, sparse sound effects and a psychedelic atmosphere and preparation (notice the similarity until the end of words), before driving the wonderful Right in Two , an epic song that closes the album with full power, one of the obvious highlights of the album and its entire discography. The last song is but the worst fillers: Viginti Tres is nothing more than white noise, vocal lamuriosamente scary (though few) and sounds unpleasant. It's dark, but Faaid De Oiad the previous album gave me more afraid anymore.

4.5 stars, rounded up because I think this album somewhat wronged. Lipan Conjuring up and cut Viginti Tres would just six minutes at least, and maybe I'd make a perfect rating. Still is Tool, and I have to say that I love this band and look forward to his next album.

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