10,000 DAYS

After a five year break from 2001's magnum opus Lateralus, its no surprise that Tool returns better than ever. 10,000 Days is dynamic, brilliant, and at times downright weird.

"Vicarious" 8/10 - Tool has never opened with a weak track. Vicarious is an interesting exploration of several styles weaved into one hard-hitting song. Maynard's vocals sound especially experimental, ranging from rhymthic whispering to intense yelling. This is actually my least favorite song on the album.

"Jambi" 10/10 - This is something unique. The sound of the bass and guitar call back to Undertow at times. Maynards vocals soar over a repetetive, kind of machine gun riff which is prevailent through most of the song. The overall structure is complimented by a great talk box solo as well.

"Wings for Marie (Part 1)" 10/10 - This serves as the soft, but far from mellow, introduction to Tool's greatest epic. Something about it reminds me of the X-Files theme.

"10,000 Days (Wings Pt 2)" 10/10 - Tool has outdone their own standards for an epic once again. This song is a poetic exploration of death, using the sounds of a thunderstorm as musical backdrop. Few things, if anything, ever recorded in music can surpass the beauty of Maynard's overlayed voices on this song, and I mean that. This song is that good.

"The Pot" 10/10 - It comes as a pleasant surprise that the rest of the album holds up to the standard of Wings for Marie. The Pot is a knockback to earlier days, but with new flare and invigoration. Its nice to see a band getting better and more creative with age rather than slowly burning out. The singing is unlike anything you've ever heard from Tool before.

"Lost Keys" 10/10 - This is the intro to Rosetta Stoned, and also one of the most surprising moments on the album. It sets up for what is apparently the story of a man who got contacted by aliens while he was stoned.

"Rosetta Stoned" 10/10 - Calling back to Reflection, Tool uses synths and distorted vocals in a brutal sonic assault. The whole band is on a creative explosion. The song is incredibly layered, and I'm sure will take years to fully figure out.

"Intension" 10/10 - From the brilliant metallic watery sounds to the electronic (think Aphex Twin) drumming near the end this is Tool exploring entirely new grounds and succeeding.

"Right In Two" 10/10 - This song proves that Tool have become totally unpredictable. Danny has pulled off some brilliant tabla drumming rhythms, melding seemlessly in with the sounds of his normal drum kit, and even some Chinese-style drumming used in a way I've never seen before. The fantastic drumming is complimented by palm-muted guitar and wonderfully bendy bass sounds.

This is simply the best album I've ever heard. 5/5 without hesitation.

I have to hand it to Tool for creating such a loyal following of fans that seem to love everything they put out. Well, up until now there has been reason. I've seen about as much anticipation for this new Tool release as any other album that I can remember. However, I'm not so sure if it lives up to the fans' hype in the long run.

There are some good tracks, namely Vicarious, The Pot, and ___ . As with many of the tracks on Lateralus, the songs on 10,000 Days tend to drag on slowly and take forever to get anywhere, and many go nowhere at all. Tool seems to be rivaling The Mars Volta for simply adding filler track length to make it appear as if they could take up the whole CD with music. Ultimately, this album brings little to nothing new to the table where Tool is concerned although I can understand where a relatively new fan could dig this. It's just nowhere near as original as Undertow or Aenima...just more of the same rhythms and spacey sections we've come to know Tool for producing. Perhaps the album will grow with time, but that means I'll have to actually want to keep listening to it.

If you're not a Tool fan, you probably will not like this. I am a Tool fan, and I can't really get behind it...and I really want to.

After awesome "Latelarus" we have another masterpieace fromm Tool. I am a Tool fan and i love it, i dont understand why people dont like this album. After 5 years we have a great pieace of music. 10, 000 days have the same magic as AEnima have. "Vicarious" is some kind of ending for Latelarus, after it we have something new. Wings pt 1 & 2 are probably one of the best Tool tracks. Those tracks are SOMETHING NEW, something sad and awesome climate. The Pot vocals are pretty annoying for the beginning, but after a few listeings they are good, and fit with the track, i think thats another one from Tool's jokes. Lost keys and Rosetta Stoned are pure LSD trip. My favourite song for the album is Right In Two...This song shows that Tool is still awesome. Danny cant be a human, his drumming is so great. Huh...This album jest need time, to prove that it is a masterpiece of music.

Simply...Great Album. "Essential: a masterpiece of progressive music".

Well well... this is my first review in this website, and for thar event i think that such as comeback like "10000 days" from Tool. For the further considerations, i'm only in this records few days ago, so, maybe for the excitement of the moment this review it's a way to overreacting but i must say that "10000 days" has absolutly everything that a Tool fan could expected: that incredible voyce from Maynard James Keenan, the complex and sincopated drums, courtesy by Danny Carey and the perfect companion with Adama Jones, the barin behind all the significant of Tool, and that deep bass from Justin Chancellor.

It's really exciting to hear some music free, always inventive, always taking risks. Certainly Tool is the proper meaning of a band in constant evolution, in their own ways ("Lateralus", for me, was way too much in the experiment, so maybe that record was a little frustrating sometimes), but in this new delivering, Tool shows to us how to keep interesting a way to see the music as an artistical expresion and not only as a product, like some other bands in the USA appear to be.

Personally, i can´t recommend any song in particular. All of them, in this hour plus of music deliver an unique context, a changing context, that we must discover in every travel through this extend journey. I Must say, however, that '10000 Days - Part 2', was a tremendous arrangements, exquisits ways to perform, showing to us the truly potencial of Tool.

An incredible record, in the vein of prog in general. Defintily, another step beyond in the amazing an evoluting journey that means Tool. "10000 days" it's the very testament of that.

I'm going to go ahead and say this right off the bat: if you go into this album expecting a masterpiece of Prog Metal that completely blows away Lateralus (or AEnima, or whatever happens to be your favorite Tool album) you will most likely be disappointed. There a few good songs on here that are basically standard Tool fare, but overall, the album just feels very uninspired and dull. Many fans will love this album simply because Tool didn't try to stray from their usual style, but for me, Tool needs to change. This sort of stuff just doesn't hold my attention anymore. It's boring. Let me put it this way: I'll listen to when I don't want to really focus on the music. There's really nothing wrong with this CD (there are some pretty cool parts), it's just that I could listen to any of their other CDs and have basically the same experience. But on to the review (I'll try to keep every description bite-sized.)

-Vicarious: Reminiscent of the stuff on Lateralus (particularly Schism) with a little APC tossed-in for good measure. A good song, but not exactly mind-blowing. I don't really have any problems with it, but there's nothing that jumps-out about this song. Danny Carrey's drumming along with Maynard's vocals are the stars of this show, per usual. [7.5/10]

-Jambi: Slightly edges-out Vicarious. It has a good opening, more variety sonically, a nice heavy breakdown in the middle, and an awesome (if simplistic) Talk-box solo by Adam Jones. Again, Maynard and Danny do a great job. [8.5/10]

-Wings for Marie (Part 1): Meh. This whole "suite" could've easily been one song. I might even consider this song "filler". It's drawn-out and boring. Not the kind of stuff I listen to Tool for. [6/10]

-10,000 Days (Wings Part 2): Better than the last one. Good lyrics, nice, gradual build-up. Very ambient stuff in the beginning. Maynard gives a very heartfelt, powerful performance on this one. Some noticable APC similarities on here. Adam was a bit weak on this one though. [8.5/10]

-The Pot: I actually like this one a lot. It's very catchy. Maynard's voice returns to it's Opiate/Undertow-sound on this track. The Bass is especially prominent in this song -- Justin's slapping works very well. [8.75/10]

-Lipan Conjuring: Filler. Basically a joke. It's actually kind of unfair to score this one, but hey, what're ya gonna do. [1/10]

-Lost Keys: Yet more filler. Fun times. What a horrible waste of disc space (both on the CD and my computer.) [3/10]

-Rosetta Stoned: Kinda funny. Kinda creepy. Kinda cool. Kind of annoying. This one's hard to score, but I like it. Some King Crimson influences in here, which is always a good thing. One of the better tracks on 10,000 Days. [8.75/10]

-Intension: Hard to call this one filler, because it's definitely a song, but it's just really boring, long and uninspired. [6/10]

-Right in Two: Very Lateralus-esque. Good song. [8.5/10]

-Viginti Tres: What a surprise, the CD ends with yet more filler. This one's a little chilling, but overall it's just boring. Noise. [3/10]

Man, I really wanted to like this album. I was so excited about it, I bought a 10,000 Days t-shirt before I even heard it. It's too bad, really. I hope Tool's next release is at least a little more interesting than this, but if I have to wait another 5 years for a lackluster CD like this, I'm probably going to give up on these guys. Please, make something different. You've clearly established the "Tool sound", now do something new.

Final Verdict: A good, but very flawed release. Skip the filler and what you have left is a handful of decent songs. Nothing great.

A new sensitive experience!

I must admit the opening track doesn't surprised me too much, but the rest of the tracks are all masterpieces in his self essence. Then you've got 'Jambi' a heavier track, with much tribal influences, great rythmic parts, the percussion here and there ignites your spitir and body. Although it makes me remember of the old Tool era (Undertow-Aenima), but obviously, with a big evolution of their art and style. But there's more and there're better coming... Now 'Wings For Marie (Part 1)' is a psychedelic, slow piece that makes you trip to distant lands, maybe to another dimension, then, when you're on the top of your senses, it explodes in heavy guitars, like a sudden volcano eruption, and then it just return to tranquility and it passes into the next track... '10,000 Days (Wings Part 2) is one of my favourites, including lyrics, the phrase "Fetch me the spirit, the son, and the father. Tell them their pillar of faith has ascended" has been sealed in my mind. In the best pink floyd's style, this piece brings a misterious atmosphere that goes growing with as the seconds pass till you wanna throw your hands up to the sky and scream. And not to mention the great job of Danny on his only own drumming hard to describe style. And it finishes in the same way that 'Wings For Marie (Part 1)' What to say about the next track?? I love it! It sounds too 70's, it brings Led Zeppelin to my head, Justin bass playing really shines on this one!! Very difficult rithmycs at some parts. A very much rock oriented song in all possible ways. Now a break up with some king of tribal conjuring, more specifically 'Lipan Conjuring', a tribe of apaches that lived in texas. Lipan is a word that means "Warriors of the mountains". I think it's great they put them here in this little bridge track. Then another king of passage called 'Lost Keys', a song that keeps you in trance during its 3 minutes and 48 seconds. It has some background voices that penetrates straight to your brain. The next one is a mystic 11 minutes lenght track, that have some boring and some amazing parts, this is not one of my favourites, but it still contains some excellent moments to remember, maybe also some simillar to lateralus moments. Intension, another psychedelic piece, with a peacefully atmosphere, it surprised me with the electronic drumming, I think that was a great idea. Also has some pink floyd things just like '10,000 Days (Wings Part 2)', but focused in another direction. Well, now, the last song because 'Viginti Tres' is the ending of the album and it's not a song. So what a better way to close an album made full of masterpieces, 'Right In Two' is NO DOUBT one of my favourite tracks!! What a beautifull song, it shines for itself, in my mind, it leads you slowly by a kind of river, and then tere comes the oriental or maybe tribal drumming (I don't know how to describe 'em at the moment) on the middle and then the guitars irruption, this song is probably one of their best songs ever!! The top of composition!.

There's no doubt of his talent as musicians and composers, and they really evolution album by album. This album is their top by now! But Lateralus was it too in 2001!

You don't have to miss this masterpiece!!

About the title of the album, Could somebody here tell me what it talks about??

Sorry if I will be too offensive, but this is simply victory of music and progressive rock over all those thrash-like american music of an alternative rock scene of present day! This is how music should be made: not for money, not for popularity, not for sucking fans, but simply because of music itself. In progressive rock view this is the best Tool album by now, the most complex and most emotive, the finest piece. Grandious just like their album ten years ago, this one shows new horizons, new progress, creativity at its peak. There is no progressive metal band of today that could be even close to Tool. The most of bands cited as progressive metal are power metal, melodic death metal, or heavy metal bands, not even close to progressive rock genre. Some prog metal giants like Dream Theater, Symphony X and others got tired, they have just been stucked into blank space, with no new ideas. Probably the best progressive metal band could have been Rush, IF they didn't make all those rubbish (read this as weak) pop rock albums in eighties and nineties. It is just great thing that Tool make music for so long time, I know reason now. Guitarist in Tool is just the most unique in today's rock music, he managed to build very interesting and excelent sound. Simply the master! And vocals here are beautiful, nobody can sing like him. Bass is extremely rocking! I almost forgot virtuosic drummer...

Well, here we go, I bought this album today, have listened to it five times through, and though it was worth my signing up to this site to express how much i love it. I've seen a lot of mixed reviews for this album, mostly saying it's either an undeniable masterpiece or it's awful. As you've probably guessed, I agree with the former. I am of course a die- hard Tool fan, so this review is probably fairly biased, but I'll try and be as honest as I can.

After the mammoth album that was Lateralus - my favourite album of all time - my expectations were very high indeed for this album, and those expectations have just about been exceeded. I heard Vicarious a couple of weeks ago, and I was very impressed - not quite as blown away as I was when I first heard The Grudge, but more than when I first heard Schism. What struck me most about this song, and the album in general, is the aggression in it, compared to Lateralus. The riffs seem to be a bit faster, a bit more angular, a bit more random - songs like Jambi and Rosetta Stoned really threw me on the first listen, they weren't what I expected at all, and they are all the better for it. The Pot too had a similar effect on me, and it's quite a different style - a funky Tool song, if you will. Immediately had my head banging!

However, the stand out moments on this album for me are the quieter ones. Wings For Marie/10,000 Days is one of the most epic pieces of music I've ever heard. One of the things I've always loved about Tool is the way they subtley build things up, and the title track is a great example of that. It's an emotional song, and not in an obvious way - much like Reflection, it's an underlying feeling that just creeps up on you and grabs you when you don't expect it, usually in the quieter moments rather than the heavy moments towards the end of the song. I have a feeling this will soon replace Reflection as my favourite Tool song. Intension is another subdued song that is more like a 7- minute build up to Right In Two, both very atmospheric tracks. The way Intension leads into Right In Two is a perfect example of how effective Tool's subleties are. It's hard to describe the feeling I get when the opening riff to Right In Two begins - despite the fact it's a simple acoustic melody - and that this song is probably one of the most commercial songs from Tool yet - when it comes in after Intension, it has the same impact as the climatic moments of King Crimson's 'Epitaph' have on me. It may have just been the overwhelming feeling I got from realising I finally had the new Tool album, and it was coming to the end of the record, but that's the effect it had on me none the less.

Usually, at this point I would say if you loved Lateralus, you'll love this, but this obviously isn't the case with everyone. Personally, in the long run I don't think it'll beat Lateralus, but good christ it comes damn close. The one thing it lacks that Lateralus had in spades was the huge variety in the style of the songs - each track on Lateralus sounded completely different from each other, and the album in general had this other- worldly like feeling to it, a feeling which only comes across on a couple of tracks on 10,000 Days. Yet at the same time, I have never heard an album like this one. Whilst it may not be better than Lateralus (though that decision is going to take some time to make), it's better than pretty much any other album I've ever heard. High praise indeed, and praise worth giving. They've done it again. Which just leaves me with one question... how on earth are they going to beat this one?

Very solid album from Tool. Vicarious : Awesome starting song, catchy chorus, very nice playing by Danny especially.

Jambi : very metal. Talkbox solo is unique.

Wings part 1-2 : Epic yet not explosive, long (17 minutes) but passes like a heart beat. Beautiful lyrics. the ascending intensity over the whole "Wings pt. 2", musically and vocally, is mind blowing. One of the most moving songs of Tool's repertoire. Surely to become a classic, high up there with Third Eye and Lateralus.

The Pot : not fond of it, but very original intro.

Lipan Conjuring : Hayeeoo, Hayyeeoo, eeeeyyooooo !

Lost Keys/Rosetta Stoned : nice song. but sounds a bit long in some parts.

Intension/Right In Two : I LOVE Danny's use of electronic drums here. Intension is very mellow, soothing, hypnotic. Right In Two is pretty introspective and metal. I love the eDrum solo in the middle (possible extended section when played live ?).

Vigniti Tres : creepy ending sounds. Extra-terrestrials ?

The production is immensely richer compared to previous albums. Maynard is a bit more in the back though. But every musician owns the album.

A lot of the 10,000 Days reviews are either written by die-hard fans or by metalheads who seem to think that Tool are still in the process of "selling out". I myself am not massively biased when it comes to Tool - I disliked the early work of Undertow and Opiate, liked some of the songs on Aenima, and embraced Lateralus as the masterpiece it indeed is. So I feel qualified to give a fair review to this new album, 10,000 Days.

To get it out of the way, the packaging for this album is simply superb. If we're taking the packaging into consideration, this album easily merits five stars. Artistic, innovative and still reasonably priced, the very case is a sight to behold. I won't spoil the surprise for those who haven't bought it, but browsing through the booklet inside is something completely different.

Onto the music. First track Vicarious is top-notch, as has come to be expected of Tool first tracks. Those who say it's too poppy have been immersed in the metal and prog scenes for too long - it's seven minutes long, and has a chorus, I consider those two qualities to be highly valuable in a world wheree the 20 minute epic reigns. The song is concise, well executed, and, while nothing completely fresh, is a quick hook into the album, before the real journey begins.

Jambi is a much heavier song, with an almost drone-like quality to it, a relentless assault. Less memorable than Vicarious, due to the lack of an obvious chorus, but a fine song nonetheless.

Wings for Marie and 10,000 Days are essentially two parts of the same epic. The highlight, and centrepiece of the album, this 17 minute duet of tracks should be enough to quell any claims that Tool have no innovation left in them. Very Eastern influenced (even more so than your average Tool song), the piece builds up slowly, with haunting vocals and effects, to a powerful combination of rain-sounds, beautiful harmonies and unusual guitarwork, before climbing down again. Listening to this masterwork is like hearing everything Tool have done smashed down, and rebuilt from the ground up.

Next song, The Pot, sees Maynard employing a new, much higher vocal style. This, combined with a well crafted song and a memorable chorus, results in another highlight.

Sadly, this is where the album leaves its conciseness behind, with TWO interlude tracks in a row. While they are good interludes, by Tool standards, and they offer some respite after the five-song onslaught previously, it would have been nice to have had just a lighter song, instead. Still, there's nothing wrong with the two tracks, and they clearly go some way towards whatever theme it is Tool have chosen for this particular album (I haven't really been listening to the lyrics).

The track after these is Roseta Stoned. Perhaps the heaviest song on the album, it's also great. With effects sometimes reminiscent of those used in the three song suite at the end of Lateralus, it also has some great rhythmic vocal lines, an unambitious, yet beautiful guitar solo, and fantastic drumming throughout. The interlocking rhythms of the vocals, drums and guitars are most prominent on this song, and they are wonderfully exotic.

Intension is another interlude (with a brilliantly funny hidden message inside, when played backwards), though one of outstanding beauty. Perhaps this interlude is especially important after the raging ferocity of Roseta Stoned. It has some odd Aphex-Twin style synthesised percussion, as well. There is indeed singing on this track, but it has a very mellow, unsonglike quality to it, which contributes to the interlude feel. Maybe a little too long, but still, easily the most enjoyable of the interludes.

Right In Two has a lovely clean guitar riff, combined with some unconventioanl percussion, and some classic Tool style vocals by Maynard (great lyrics, too, the only one's I've really listened to). This song is another with has that trademark Tool eastern-feel to it. This may be the most mainstream track on the album, aside from Vicarious. Slightly reminiscent to 46 +2, though not in a negative, derivative way. It also has a tremendous climax to it, wheneve the (realative) quiteness gets too great, a thunderous distrorted guitar leaps in for a headbanging chord sequence. There is some cyclonic bass and drum work in the song, faster than the riff to Schism. Generally a delight, and the last real "song" on the album.

Viginti Tres is the final track, and does basically the same task as Faaip de Oaid did on Lateralus - provides some closure to the album, in a typically Toolish and mystifying way. Nothing bad here, but nothing song-related, either.

Overall, the production of the album is fine. The vocals occasionally get buried beneath the might of the bass, and the pounding of the drums can get very prominent, but that is clearly how the band wanted it, and its nothing problematic, just unconventional.

The influence is undeniably Eastern, with eastern melodies, eastern rhythm, eastern percussion. The band uses the key of the song almost like a drone, to keep returning to, to end on - it is relentless, and can get wearing, if you're in the wrong mood. Another obvious influence is that of King Crimson, the darkness of the music and improvisational quality of the composition as a whole reflect that particular band. A reasonable medley of music to represent the sound of this album would be Larks' Tongues in Aspic-era Crimson, combined with Metallica, combined with traces of Floyd, with a bit of Santana in there too. however, basically, Tool are the only band who sound like Tool. This CD may not be of the same level as classics such as Dark Side, as Close to the Edge, maybe not even as Lateralus, but the music within is clever, dark, and undeniably progressive. For those prog-fans who can swallow distortion, this album is a required purchase. Otherwise, it still comes highly recommended.

This review could be five words long: New Tool Record out Now. If you're not a fan, this probably isn't the record that's going to win you over, but for those who've been waiting for the follow-up to Lateralus, this record is exactly what you would and wouldn't expect from Tool: a brutal, strange, moody and captivating record from the first cut to the end.

A lot of the songs feature polyrhythms and hemiolas, the specialties of Tool's opening act on their last tour, Meshuggah. But while Meshuggah use polyrhythms to maximize dissonance and tension, Tool inject them subtly into various parts of the album, along with pulling out all their old tricks: odd-time signatures, ambient pieces, and the buildup of intelligent emotion that characterizes their work. These polyrhythms can be frustrating to hear the first time, but grow on you as they're absorbed.

The album's production is both an improvement from their other records in its clarity and power, and questionable as the vocals take a back seat to the instruments in many cases, which is sure to frustrate some people.

The most amazing thing about the members of Tool is, while they're all individually talented players, they can forego their egos and serve the songs, which seperates them from most prog bands. Still, each perosn gets a chance to shine: Maynard's vocals range from whispers to effects-heavy belting, Adam Jones' guitars are both ferocious and textural, Danny Carey's drumming rocks, and Justin Chancellor's bass playing is moody and powerful.The lyrics range from righteous fury ("I need to watch things die") to cryptic and spiritual ("Fetch me the spirit, the son and the father/Tell them their pillar of faith has ascended"), and the breadth and complexity of emotions and subjects covered is astounding and uniquely Tool.

So, basically, this record is like every other Tool record in it's complexity, heaviness, and emotional density, and stands on its own with heavy polyrhthms, subtle time shifts, a wicked talk-box solo (on "Jambi") and unique production. Like Lateralus and Aenima before it, this record takes a few listens to wrap your head around, and I'm sure in six months I'll have a different review and appreciation for 10,000 Days. I refuse to rate any band that puts this much effort into what they do. Get it, you won't be disappointed.

If you like Tool, you already have this. If you don't, run (don't walk) to your music store and get this now! This album is yet again another step forward for Tool in a different direction, as it for the most part is a little louder and more metal oriented than Lateralus, and it's a definate progression, an absolutely riveting and emotional experience. I had already listened to Vicarious several times before purchasing the album when it came out in Canada yesterday, and I was hoping that I would like the rest of the songs as much as it, and is it turns out, I like most of them better! Jambi starts out hard with a operatic bass and guitar pounding and for and has a really cool talk-box solo a la Mr. Jones near the end and some cool lyrics. Wings For Marie (Pt.1) serves as a nice intro for the next track, used it seems to me in a similar way Disposition is, but is more the length of an actual song. (just over 6 minutes) It is for the most part quiet, but has one abrupt loud part that kind of caught me off guard and is preety cool. 10000 Days (Wings Pt.2) thus far is my favorite track on the album, and is up there with the likes of Reflection for my favorite Tool song ever. The lyrics are absolutely beautiful and the song is ever building into a climax that ends up being very orgasmic indeed. The Pot I find that I actually like this track quite a bit, as it reminds me of some of the songs off of Undertow, which I enjoy immensly, contrary to most it seems. In the beginning of the song, I thought it was a girl singing until the guitar and bass kicked in. Lipan Conjuring is immensly entertaining and I think serves as a pleasant bridge, and sort of sets the tribal mood carried through some themes in the album (Like the front cover and some of the song titles, like Jambi and the Rosetta Stone) Lost Keys (Blame Hofmann) Is an appropriate homage to Albert Hofmann, the 'father' of LSD and is a nice soundscape. Don't like the talking in the end of the song, though. I thought it sort of ruined the flow of things. Rosetta Stoned is unlike any other Tool song I've heard (and I've heard them all) and has a very strange rhythm and gritty and angry vocals. I think it will probably be a grower for me, but as for now I don't really understand it. Still worth 11:11 of my time, though. Intension is more of a quiet song with really cool lyrics, and what can I say... these songs all kick ass and Tool can't do any wrong for me. Right In Two is another one of my favorites on here. I can't really describe all of them too well, because this review is meant to be a first impression on the album, not a detailed synopsis. Viginti Tres is just a bunch of space noise and a perfect outro to this fabulous album. Five years was a long time to wait, but it ended up being worth it, because the end product ended up amazing, as per usual with Tool. And I almost forgot to mention Danny Carey, who in my opinion along with Maynard is the star of this album. Absolutely brutal effective drumming throughout. My conclusion... 5/5 without a doubt

I will start by saying that I give this album a 3-star rating with some reluctance. I think a 2.5 would more aptly hit the mark. I can't say much more than what Proghat and mbd3675 have already stated about the record, but I will gladly reinforce their opinions because I am extremely disappointed with Tool this time around.

Before I tear into the band, I can say for sure that 10,000 days showcases Danny Carey's best drumming to date. He blew me away with just the first track. The other three boys, however, display usual fare. Does Adam Jones really not care about experimenting with tone anymore? I'm not sure what kind of setup he used for this record, but I'm willing to bet a generous sum that it is basically the same setup from Lateralus, which is (by the way) my favorite Tool record. The tone of the album feels like Lateralus through and through. Hell, it sounds to me like (and a few "Toolhead" friends of mine have concurred) that Adam stripped riffs directly from the last record. Listen to Intension (track #9) and tell me it doesn't remind you of Disposition.

I could cite other examples, but I shouldn't have to. After a five year hiatus, and when Tool fans expect so much after the prog genius from Lateralus, I shouldn't have to bring attention to the fact that this record sounds basically the same as the last record. 10,000 days is simply dull and boring. Though, I do like a few tracks a lot, namely Vicarious and The Pot, most of the tracks don't seem to go anywhere at all. And this is coming from a guy who eats up everything Beefheat, Zappa, and Zorn have released.

I will, however, continue to listen to the record. As of this writing I've heard it three times through. Perhaps it will grow on me a little more, but I don't think I can overlook the obvious similarities to Lateralus and the long, overarching progressions that end up nowhere.

3.2/5.0 Tool fans were waiting for this album for a long time. But this is a bit of a disappointment. Overall, the album is good, but there are too many worthless (or close to worthless) tracks or "filler" (even if I don't like this expression) on the album: Lipan Conjuring, Lost Keys or Virginti Tres, as an example.

On the other hand, there are some great tracks; the first two are my favorite (with Right in two not far behind) and really this add to the disappointment as the album starts as a real masterpiece and end so badly. Between the semi-worthless and the great tracks, the rest of the album is af average quality, with good (but repetitive) rhythm, interesting voice (yet always the same thing), good lyrics (yet not that good either).

Adding to this the "prog-like copying theme" of the Wings two songs, which are not impressive at all, particularly the first one. It's exactly like if Tool was trying to copy what others have done before to stick a bit more to their prog 'image'. I realize this is not that clear; whatever, my point is just that this is nothing new. This is a good album, but it is not an essential one as it has too many weaknesses and it does not offer anything I did not listen hundreds of times before. 3.2/5.0

I really don't get the negative reviews of this album, in my opinion I find this album to be absolutely beautiful. The vocal of Maynard is wonderfully downplayed in this album, and when it blends in with the rest of the band, Oh boy it's beautiful. Just take a listen to Wings pt.2, I know I almost cried. The tracks are sort of divided into different styles, and should in my opinion be connected like this.

Vicarious, Jambi and the Pot. Are good Hard rocking songs.

Wings pt1 and pt2. Nothing can describe those to tracks.

Lipan Conjuring and Lost Keys (Blame Hofmann) functions as a prelude to Rosetta Stoned. Rosetta Stoned is a hard rocking song, which experiments with some cool styles of singing.

Intension functions as a prelude to Right in Two, that has some beatiful lyrics.

This is nothing short of a masterpiece.

10,000 Days is a disaster. There is no real melodic tones whatsoever. It should be called 10,000 years because that 's how long the album felt while listening to it. I couldn't wait until it was over. My reason for this is the album is like Frankenstein Bits and pieces ripped off from there previous albums all balled up into one.

Vicarious seem to be cool but when the lyrics came in the story was close to Peter Gabriel's Barry Williams Show concept. I just couldn't help hearing a compilation of their previous albums with all same timings in stops. There simply wasn't anything Pulling me in like in Laterals.

This Album is just for Fanatic Tool fans Who don't mind hearing the same musical ideas over and over.

Well first off I would like to say that I have been an avid TOOL fan ever since I heard Opiate way back in 1992. Having said that I have to admit that the first time I listened to this album I was quite disappointed. I felt that they used too much filler sounds where they could have put more song (Lipan Conjuring, Viginiti Tres for example). But everytime I listen to the CD I like it more and more and I find myself only wanting to hear it again when I'm not listening to music (at work etc...). The songs are unlike anything out there right now and seem to get better and better with each listen. As usual the lyrics are superb. I recommed printing off a copy of the lyrics and then listen to the whole album while you read them. Definite A+ for lyrics. The CD on a whole is much more enjoyable when listened to from start to finnish. I am realy impressed with Justins' bass work on this album, he seems to be getting better and better. Danny is amazing as usual, probably his best work yet. Maynards vocals are subdued a tad too much and are hard to hear at times, but his voice sounds beter than ever. Adams' guitar work is good and his sound is typical TOOL. I do think he could have wrote better solos on some tracks but the drum and bass lines make up for it.(The guitar work on Lateralus is hard to top). TOOL is a rare band and their work is much better than most anything out their today. Having said that I don't think this is TOOLs' best album but it is great in its own right. My personal fav track up to this point has to be #10 - Right In Two. An awesome TOOL song lyricly and musically. It's not very often a song makes us take a second look at how we treat each other and our planet. I think that will end up being the legacy of this album as a whole. Definitly worth the five year wait.

Five years is a long time to wait for. And Tool delivered perfectly. The songs seem well structured and I admit, it wasn't a easy listen at first. But after listening a few times, the songs really stuck in. You either hate it or love it. 10 000days shows a progression in their music since lateralus. And seriously, I prefer Aenima to Lateralus. VICARIOUS: The song almost seems like a traditional prog song and is definitely an enjoyable listen. JAMBI: Great song with great lyrics. Great riffing with guitars and bass is a killer as well. WINGS FOR MARIE: Starting off slow and having a heavy riff in the middle, a reminder of the typical TOOL style. 10 000days: The title track for the album. A good epic although it will never match Aenima's Third Eye. Meaningful lyrics as well. THE POT: This song is rather enjoyable and somehow brings me back to Hooker with a Penis from Aenima. LIPAN CONJURING: Interesting interlude with indian chantings. LOST KEYS: The starting riffs are rather good for another interlude. ROSETTA STONED: One of my favourite tracks and reminds me of Aenima's H. INTENSION: A great song that sounds almost similar to Disposition on Lateralus. RIGHT IN TWO: The drumming is unique in this one, almost a tabla sort of drumming. Rather psychedlic as well. VIGINTI TRES: Another typical TOOL style, to end the album with weird sounds and deep talking. Overall, the album is an enjoyable listen and Tool shows a great amount of intensity and creativity. As for those who listen to the album and don't like it, if you are a true fan, you should know better than anyone else that Tool is unpredictable in such matters where music is concerned. Tool shows a great amount of darkness in their music and is not afraid to go where other artists are afraid to tread. They believe in seeing through with their vision and these album shows it. Five years... But it was worth the wait.

Before I continue with the review, I'd like to state that this is my first Tool album, so I don't have a bias edgewise. Onto the review. Standout tracks are Vicarious, 10,000 Days (Wings pt 2), Rosetta Stoned *hilarious*, Jambi, and Right in Two. My only complaint about this album is that several of the tracks seem to be a little out of place, *but still entertaining in their own waY*, such as Lipan Conjuring or Viginti Tres, which may freak you out the first time you listen to it *as it did me* but will probably get old soon. Good for halloween though *hehe*. Anyways, solid album, outstanding work by Carrey, and Maynard's voice is really dynamic throughout. Cool talkbox solo on Jambi as well by Adam. I don't know what their other stuff is like, but personally, I think this is a great place to start with them, and I'm looking forward to getting Lateralus *when I get some money again*.

Been very excited that Tool was making another studio album in another 5 years. But i said to myself how are they gonna top the heavy, aggressiveness of Aenima and the psychedelic but very proggy Lateralus. Well i was very much impressed when i first heard VICARIOUS on this site as this song had the in your face style of aenima as well as the progression from lateralus in fact i would say they have took the progression a step further. So anyway i finally got 10,000 Days and WOW THIS CD IS AMAZING. okay sure you got some filler tracks like LIPAN CONJURING, LOST KEYS (BLAME HOFFMAN), and VIRGINITI TIES but dude come its Tool they always but filler stuff in there albums and besdies most of these short filler tracks are intros to other songs anyway. However though i do think each longer track on 10,000 Days is absolutly stunning each track is just so progressive with its polyrhythms and great mood changes. These guys have what it takes to make you think that each album is at their best but once they realease another album that keep topping it off over and over. plus not to mention Tool also have been experimented with some new stuff especially Danny with some neat electronic drums on INTENSION and great Tabla drumming on RIGHT IN TWO. but anyway you get some really great decent long tracks not to mention they've decided to make not one but TWO!!!! 11 minute epics in which both are awesome. however i think ROSETTA STONED is the better one just because it is so aggressive from beginning to end. Now as for the players gah what hasn't been said about these guys. Maynard i will admit is not my most favorite singer but he really surprised me on this album. I mean his voice sounds so different than Aenima and Lateralus that i had to check to make sure it was him and guess what it was lol. Anyway this is probably my favorite vocal album with him and i love the accapela with him at the beginning of THE POT. Adam Jones WOW he really surprised me as well as his riffs are so proggy and i mean over the top proggy. And i'll be honest it had to take me awhile to get used to his solos on the other albums but the solos are all great in this one especially the Talk Box solo in JAMBI. Justin Chancellor MAN what a great player. I mean when its just you taking the rhythm section of the band while the other guy is doing other crap then your great. But anyway once again he embraces us with his awesome bass playing not to mention that the bass play on JAMBI is really done well. and finaly one of my most favortie drummers DANNY CAREY!!!!! LORD have mercy how does this guy do as each song just blows me away as he so tight with band with his polyrhythms and his great style of keepin together with random tom beats and cymbal i mean this guy is incredible. This Album is probably my favorite and IMO the best out of DANNY CAREY as he is one of the pioneers of prog metal drummers. So anyway if you love Tool and really wanna hear some great this album is so worth it. However if your a noobie and want to get interested in Tool well don't get this album first i suggest getting AENIMA and work your way up. but anyway i hate to say but i guess 5 years later another Tool album will appear. But how are they gonna top this???

First things first, this is my first Tool album, so I come into reviewing and listening to this CD completely unbiased. Secondly, these are initial album impressions after a limited number of CD spins (bout 5), so review should be taken with a grain of salt.

One word: Wow. I had always taken Tool as being in the nu-metal crowd with Mudvayne, Fear Factory, and other such pathetic music. Upon noticing that Lateralus seemed to be rather revered in prog-metal circles, I decided to give this popular band a listen. What better way to start off than to pick up their new album, 10,000 days? I was not dissapointed, and in fact was pretty much floored from beginning to end of this wonderful album.

Vicarious - Awesome opener, one of the strongest tracks on the album. Tool plays in 5/4 time as if it was 4/4, which is really amazing. Being a drummer, I am completely in awe of Danny Carey, what wonderful polyrhythms he is able to pull off! The vocals are highly distorted and somewhat subdued in the mix, but the feeling is great. Also contains probably the best chorus on the album ("I need to watch things die...")

Jambi - This one took a little longer to get into. Initially seeming to have the same chugging guitar for its entire 7+ minutes, layers of guitar melodies are revealed with repeated listening. The vocals are really well done on this song and the groove is very creative and unique.

Wings for Marie - Effective opener to 10,000 days. Probably a weaker track of the album, but it is meant as an intro and not as a full fledged song, and in this context it suits its purpose. The guitar is very dreamy and vocals are haunting throughout. Leads into...

10,000 Days (Wings Part II) - The first big statement of the album. An extremely emotional mood piece, and despite it's 11 minute length, the mood and feel of the song remains the same throughout. A fantastic tension-filled build-up reaches its peak a little past the halfway point, and boy is that build up and climax totally awesome! After some guitar noodling and powerful melodies (but oddly, no heavy riffing), the song returns to where it began. Probably my favorite song on the album (so far).

The Pot - Second favorite song. The groove is so kick-ass in this, with the bass line providing a very punchy foundation to the excellent high vocals of Maynard. This is my favorite vocal performance on the album, and the energy in this song is unmatched throughout the album. Excellent

Lipan Conjuring - Kind of a throwaway filler-dity, with some strange chanting and ethnic percussion. Fits in with the flow of the album though.

Lost Keys (Blame Hofman)/ Rosetta Stoned - I do not consider Lost Keys to be a stand alone song, nor is it filler; it is essential to understanding the whole concept of Rosetta Stoned, and thus these two songs create one 14 minute epic song. A lot harder to 'get' than the 10,000 Days, but ultimately more rewarding in the end. I still haven't completely grasped this song, but I can say that something new reveals itself after each listen. It's complicated, havey-guitar oriented soun contrats with 10,000 days lighter, tension-filled approach

Intension - A very soft, atmospheric song, much like Wings for Marie. Some cool percussion, too, but perhaps overstays its over 7-minute running length. Still, some cool melodies and very emotionally moving.

Right in Two - The last big statement of the album, 9 minutes featuring all the best Tool trademarks, including soft sections, heavy riffing, and awesome melodies.Great ending to the album.

Viginti Tres - Pretty much a throwaway 'song' with some ambient noises and moods thrown around; however, this is essential in the grand scheme of the album to bring the whole concept to a close.

Musically speaking, the album contains roughly 70 minutes worth of amazing music and only about 5 minutes of 'filler,' so that music thus can barely be taken into account considering the album as a whole.

I must also say a thing about the packaging. Much more than juts a gimmick, the incredible box art and included glasses really add to the experiance of the album, and hopefully should discourage illegal downloading of the album. The full 10,000 days experiance is not completel without the mysterious box art to go with it. Apparently, there are some secret messages within the pictures as well, but the Toll website won't allude any more than this.

I'll give this amazing album 5 starsfor 70 minutes of amazing prog-metal. I can see why these guys are very popular and set the benchmark for modern progressive metal. Much better than any Dream Theater record, anyways.

Without a doubt, 5 stars.

NOTE : Listen to this album with headphones!!!

I do not consider myself a tool fanboy, and I never care to go to the tool website and forums if there are some. This review is completely unbiased as a result, and is given after a dozen listens long after the album "hit" me with its musical brilliance. I believe that Tool progressed after each album immensely. While the trademark sound is always there, the quality and style of the music is more sophisticated, better, and somewhat different. First, they had Opiate: a short, angry album I never enjoyed. Undertow had some great bass playing, better melodies, and influences on Art-rock. Aenima had more complex songwriting with some amazing art-rock passages in some songs and a psychedelic epic at the end. Lateralus is even mathematical in its songwriting and is a technical monstruosity with almost no anger present, althrough it feels a bit mechanical sometimes. 10,000 days takes you to another world for 70+ minutes and does not have that mechanical feel anymore (with an exception of the guitar riffs in Jambi). While it's a masterpiece on its own, it feels like a part of Tool, reusing some ideas in their previous albums. For example, the lyrical themes bring back Aenima/Undertow with current issues such as hypocricy (The Pot). Also, while Lateralus' theme may be life and spirituality, in 10,000 days, there are many references to death.

The members exceeded themselves in this album as well, and sound as a cohesive unit as always.

- Maynard James Keenan: The lead vocalist and composer has an incredible voice and can hold notes for such long times. However, he seems to prefer being a bit less prominent here, as well as mellower. I love that change.

- Adam Jones: The guitars switch from delicate dense electric riffs to agressive rhythmic chords. He also uses new elements such as clean guitar on Right on Two and a talk box in Jambi. I consider him the least vituosic member in the band, but he manages to keep up the high quality of Lateralus and does not attempt to steal the show.

- Justin Chancellor: The bass guitarist plays even better than in Lateralus. The mellow deep bass tone is essential in the success of this album. However, when he changes his style to an extremely addictive groove in the beginning of "The Pot"

- Danny Carey: Drum freaks, I cannot think of any album that has better drumming and percussion than this one. The only ones that come close are Close to the Edge, Tarkus, One, Lateralus, and Meet The Flower Kings. IF you think that the drumming in those albums are incredible, you have to think that there can be even better drumming. He is very versatile, playing aggressive, intricate polyrhythms, tablas, and even electronic percussion. I am awed when listening to this dude, he is incredible here!

Ok, lets go to the journey with me if you listened to the album, or get a summary of what it is about if you haven't heard it yet.

Vicarious: A wonderful start. It has a harmony of thick bass guitar with a mellow guitar riffs. One minute in, a heavy guitar riff begins and the singing starts when the riff stops. The vocal performance is similar to Schism and the bass dominates in the verses. The song talks about how humankind takes pleasure of tragedy on the TV "I need to watch things Die" . The songs has many changes and turns even if it's a radio hit. IT is an absolutely phenomenal track with exceptional singing and probably the most accessible song in the album, even if it is complex and shapeshifting. This reminds me of "The Yes Album": making complicated music while being accessible. The main intro riff is played again and followed by a worthy finale initiated with a mesmerizing drum line. Amazing! 9/10

Jambi: One note guitar riffs dominate this song. The riff sounds simple but it seems to have a different time signature after each measure, or the measure itself is an unusual time signature. Also, it makes me imagine a machine gun for some reason. This is a song where you have to pay attention to the bass playing. Especially in those bass riffs that originate in musical silence. IS it just me or does the singing style in a couple of lyrics reminds you of the vocal style of Flower Kings' "Big Puzzle"? Again, this is a song that shafeshifts so much that I don't understand why some call it repetitive and noise. The talk box solo near the end is interesting, but it could have been much better. 8.5/10

Now, lets go to Wings For Marie, a two-part epic dedicated to his mother who lived paralyzed for 10,000 days as a result of a stroke until she died. If you think a song like "Wish you Were here" is absolutely emotional, check this one out. Tool's masterpiece.

Wings For Marie (part 1): The tool masterpiece starts after one minute when a delicate gutiar riff circles around your head (assuming you wear headphones). This song is extremely mellow and has almost whisper-like vocals, and appropiate percussion. The bass playing compliments the music perfectly with its dense playing. After 3 minutes, the guitar riff changes slightly and an incredible bass riff takes over until there's a short and sudden heavy part followed by an even mellower part that concludes part 1. Whispering and bass guitar are in unison while an ascending guitar riff marks the end of each measure. Wonderful song, really really wonderful song. 10.5/10

10,000 Days (part 2): Thunderstorm effects serve as a mood enhancer on this track that starts very mellow and dark. The bass initially makes the rhythm here and remember to keep paying attention to it as it is one of Justin's best performances. Maynard starts singing non-stop in that spiritual tone. When you think about the style of singing (and lyrics), you realize that this is not the stuff you normally hear on a song played by someone to a dead loved one. This does not sound at all maudlin nor cheesy. The guitar riff is brought back again with thunderbolt sound effects. Maynard then takes the spotlight and sings in a louder tone, while the other members follow him with their instruments. The climax is powerful and the conclusion is similar to the one in part 1. Amazing otherworldy song .10.5/10

The Pot comes as a surprise since the tone and style have nothing in common with the previous epic, especially in the vocalized intro. I love how it builds up. The bass that kicks in is extremely groovy, I love it!!! Then the percussion and guitars comes in and you got a heck of a catchy verse. The rest of the song is extremely well executed and has an "undertow" feeling. If this was in undertow instead, it would have been the best song in the album. It's surprising how many misunderstand the meaning of this song. It is not about pot, it is about hypocrisy. Again, where's the repetitiveness? I don't get it. 9/10

Lipan Conjuring sounds like a chanting tribe. Pretty cool actually.

Lost Keys is more like a bridge rather than a song. IT has a droning guitar sound that stays for like 2 minutes until it slides up. It used to make me nervous, but I got used to it. Another guitar is playing a slow and quite pretty riff repeated over and over again. After the droning guitar sound is over, there's a conversation between the doctor and a nurse. There are lots of gasps and neat sound effects and the song ends when the patient offers to tell the doctor something. An excellent trippy bridge. 9/10

Rosetta Stoned is like Third Eye II. It is an extremely heavy, insane, psychedelic, and complex tracks that goes over ten minutes like Third Eye was. The drumming here is excellent as well as the guitar playing. The lyrics makes me think that the patient overdosed on something. Man, he is really messed up! Anyways, the music is extremely complex here, making this the most challenging track in the record. I won't describe how it goes because it is long and has many changes. It is like a laberynth of sound. 8.5/10

Intension: The album is back on track after a less brilliant moment of the album "lipan -> rosetta" Intension is really a work of art and better than disposition (similar in style). Here, you can find Danny Carey at his very best, as well as all others. The beginning is extremely layered. There is percussion, multiple voices, soun effects, synths. The production is just unbelievable here. Ethereal overdubbed voices start and then a very deep and piercing bass guitar that gives me goosebumps. Then the bass and vocals combine (plus tabla drumming) into an incredibly beautiful moment of musical perfection. This song is very soothing and even hypnotic and makes me wonder what inspiration they got to create this musical tapestry. After that part, you get something even better!! You have a lateralus-like guitar riff and that incredible bass perfectly harmonized. Then, absolutely phenomenal electronic percussion dominate the track. This has to be the best drumming performance I have heard of all times, OMG, It could be possible to make me shed a tear of excitement! The percussion continues and now ethereal vocals combine with them to make the most beautiful piece of music I ever experienced from a metal band. The song ends by slowing down and utilizing some slow bass. This is my favourite song in the album. 11/10

Right On Two: The final proper song is a masterpiece. Starting with a bizarre clean acoustic riff harmonized with another guitar riff and Maynard talking about humans being like animals. The lyrics remind me of Roger Waters for sure, and are probably some of the best Maynard wrote along with Wings pt2. "Monkey killing monkey killing monkey over pieces of the ground. Silly monkeys, Give them thumbs, they make a club and beat their brother down." . The magnificent chorus sums up the meaning of the song. Humans are compared to monkeys and fight for land (countries). If you give them power, they attack others. The tabla drumming is excellent once again, especially during the short drum solo playing over a distorted guitar chord. It is a very accessible song that should be played in the radio, even if it a bit long. This song is better, deeper, and catchier than Vicarious and has magnificent climax. I love the vocals in this part as well as the extremely fast tempo. It is a perfect climax for a perfect album. The song ends with the acoustic riff plus a muted guitar riff. 11/10

Vigniti Tres: Atmospheric sound for 5 minutes. It is very freaky and in one part, you hear a very deep voice saying something like "Francisco" or "The System", I don't know. IT sounds a bit like Ions from Aenima, you might think it is filler, but It fits well into the album. 6/10

So, here you go. Listening to this album is like a journey, an experience. This album makes Lateralus seem like a dull transitional album. The songwriting, production, and inspiration is outstanding, and you should not dismiss it because it may not click on the first listens. Many negative reviews around the net are easy to disagree with, since they just want it to rock, or say its full of sound. It's not sound, it's music, and it's something that you should listen to.

An absolute masterpiece that should be considered a masterpiece and mentioned in music history as an artistic peak in modern music. This is my favourite album after the 70s and easily the best metal-related album I have heard so far. Also, the artwork is something else to talk about. Buy it and get ready for a surprise! Best album package I've seen in music.

Don't miss it!

Highlights: Vicarious, Wings pt1 and p2, Intension, Right on Two

My Grade : A+

PS: if you combine Vigniti Tres with Marie Part1 (in both orders) and play them at the same time with Wings pt2, you realize that they synchronize!! the Marie-vigniti order makes a complex intro with synchronized riffs and vocal harmonies with sound effects in the hard part and the "Franciscooo" voice followed by suddently distorted guitars while the following electrical charge going through your head mix perfectly with the mellow finale. The "Vigniti-Marie" combination seems to be calmer as the beginning has the sound effects (the francisco voice and electric charges appear at appropiate times) and the second half seem to have the same riffs synchronized at parts, making it less complex.

Be Patient, eh? I got your patience right here.

I waited five years for an album...THIS album. And I cannot shake the overwhelming sense of anachronism.

Summability.

The songs are solid, but there's a balance lacking for me. With the exception of Wings for Marie Pt.II it's as if Tool got together as said, "Hey, let's jam on some of our old songs, re-hash old structures and smoosh them together." It also seems like they were getting the skeletons of these songs worked out, Maynard's mother passed and they were all distracted as a result of it. (If that were the case though, one would think they would take as much time as they needed to regain their focus.) There’s nothing on this record that stands out to me as a step up from Lateralus.

Retro Anything?

It never bothered me that on Lateralus ONE riff (found in Ticks & Leeches) was borrowed from Eulogy (a previous song from Aenima)...but as far as 10,000 Days is concerned I'm more than a bit let down that I've found recycled riffs all over this album. So yeah, I feel kinda cheated. As if I paid $13.99 a piece for re-mixes of Aenima. Which actually wouldn't bother me if the albums weren't spread five-gnikcuf-years apart!

What’s that? Monkeyism you say?

This is the second of two pivotal bands for me that has cited Meshuggah as an influence for their next record and has disappointed me (The first was Metallica). I do not hear nor recognize the Fantomas influence (except for perhaps, the “la-la- la…lie” of Vicarious) as I've only one of their albums (Delirium Cordia) but just from listening to that one alone – I gather more could've been done to better 10,000 Days. From now on, anytime ANY band that says they're going to incorporate a Meshuggah influence, I'll be buying with caution. Reflections? Yeah I got a couple.

For those who haven't heard it yet, I'd say that the album art reflects the music: *A frontal portrait with two lateral profiles and a hint that there might be an obscured (because of the viewer’s perspective) fourth face to complete the pillar. This was something drawn to my attention when I heard and confirmed that the vocals for 10,000 Days were mixed "behind" all the other parts. *And as it’s an old (if I remember correctly, from 2003) Alex Grey painting covering the product, the album is covered with volumes of old Tool themes, riff and melodies to reiterate their messages and musical abilities they’ve discovered so far. The murmuring on Wings I & II was annoying to me and Adam's solo on Part II should've had more time devoted to cultivating it. *The riff for Jambi is basically The Grudge Pt. II . *The intro riff for Rosetta Stoned could've been WAY better. And they said they were using Meshuggah for an influence and THAT's what they came up with? *Both Lipan Conjuring and Viginti Tres were emotionally void for me. Fantomas as an influence and THIS's what they came up with? *More of the same samples in Danny's drum kit except in one or two instances. *On this record, Adam's gotten nimbler at playing his old material (venturing solos even! ), Danny's tighter (but yet again with the same samples), Justin locks it in (shines on Rosetta Stoned with the Meshuggah-like passage) and Maynard's vocals are dependable and honest (when he’s not murmuring or smothered). *Individually: WONDERFUL. *But as a group, something's missing for me - it doesn't hold the same progressive magic, so to speak. If you like Opiate, Aenima and Undertow...you'll like this one.

Hard for this hooker to swallow, and I don’t spit.

They warned us that this release wasn’t going to be “Lateralus Pt. 2” and they were sorta right. This is more like “The New and Improved Aenima Pt. 2 (with 50% more Cathartic-Enema Purging Action) – check out this old Alex Gray painting and see our faces.”

My opinion is that TOOL as a group took a step back on this one. That this was the album that should've followed Aenima as opposed to Lateralus/ Bastard child of Aenima and Lateralus. In order of their regard to me personally: I prefer Lateralus, Aenima, 10,000 Days and then Salival. Don’t like Opiate. Don’t like Undertow. There’s my bias, mmmmkay?

I'm listening to 10,000 Days constantly and it is growing on me, nevertheless though, my confidence is shaken. Who knows? Their best album yet may still be ahead…in time. But this one’s dense, like chocolate cake…with no milk to wash it down n’balance the treat out.

See you in another five years. Hopefully, with newer and less derivative material.

It's not often these days that I plunk down hard earned cash on an album that's hot off the press, (especially with the price of gas in the states). But it's TOOL! The only prog/metal band I enjoy. I like to give an album a good 4-5 spins before I cast my judgement.....drum roll please!........On first listen, I was underwhelmed. I told this to a co-worker explaining that its a possible GOOD thing. If I liked it right out of the gate, I would probably tire of it quickly. But no, it didn't do it for me on the first spin....nor the second, third, fourth....yet on the fifth go around a few songs stuck out. I definately enjoy the first song. Track two, "Jambi" I like until the 'talk box' or as I call it, the 'Bon Jovi device' is used. So the track has now been placed low on the list. Tracks three and especially four get things back in gear in a positive way, but not until track ten, "Right In Two" do I begin hearing some thing resembling something proggy. What I'm most shock by with this disc is their tendency to drag songs out for a ending or climax that has little or no excitment. In other words, I'm bored with the balance of the album. So basically, its a meandering, anti-climatic bore with smatterings of their signature superior bass/drum and general bleak, scary weirdness. Even Maynard seems bored with the whole thing. So if he's coming across as packing it in most of the disc, where does that leave us? Good, but no where near as good as all their others.

Living "Vicariously" with Tool's 10,000 days

Well the day has arrived - at least for me. After 5 long years of waiting - my favorite band (still performing) "TOOL" is within a week of officially releasing It's much anticipated fourth full-length studio release "10,000 Days" - and I have just had the privilege of my first listening to the album.

So without further ado - my brief take on "10,000 days"

Any music released by "TOOL" is anticipated with bated breath by its rabid fans - and "10,000 Days" is certainly no exception. Critically acclaimed as the band that "saved" the progressive rock genre from the clutches of grunge and AOR Radio in the early 90's - Tool has never ceased to astound both it's fanbase and detractors alike by delivering driving yet still melodic tracks aimed at making the listener part of the experience - right up to their Grammy Winning Opus "Laturalus" released in 2001.

To be perfectly blunt - "Laturalus" has been outdone. And 10,000 days is destined to become a defining moment in not only Tool's career, but for Prog-Rock as a whole. This is one record that is going to take repeated listening to really sink in.

Opening with the driving " Vicarious", one thing becomes instantly recognizable: Vocalist Maynard James Keenan has not only not lost any of his introspective fury - but has in fact added to his bag of tricks over the past half decade working with side project 'A Perfect Circle" . As a tone setter - the opening track also sets the overall tone for the album - almost conceptual in nature - with Keenan's attack running from subtle to bombastic as he explores the duality of modern society's obsession with death and pain - avoiding it personally, while consuming the darkness in the media we choose to consume.

" Turn on the TV, 'cause tragedy thrills me. Whatever flavor. I Like To Watch Things Die."

Also impressive on the whole is the redefinition of the trademark sound of the band - returning to the rhythmic balance of 1996's "Aenima" while maintaining the fullness of their last effort. The musicianship is absolutely flawless - with Percussionist Danny Carey driving the whole album with his unique application of light and shade. Most impressive of all -this is perhaps the one groups that is able to teach musicians as a while the old adage "It's not what you play that's important - It's what you don't play"

Other standouts on this album include The title track with it's menacing beauty, The juxtaposition of "Rosetta Stoned" and the crafty "Right in Two". I would expect several singles from this record to hit modern rock radio and do rather well - however I'm sure the radio edits are not going to do justice to the band's true effort here. "10,000 Days" is not a collection of Portraits - but an entire sonic landscape laid out before the listeners ears beckoning you to enter into the dark world of your own mind and search thru the cobwebs of your thoughts to find the secret of your psyche - Are you living - or are you dying?

Complex melodic chording, apocalyptic rhythms, symphonic arrangements and thought provoking lyrical statements have always been the "tools of the trade" for this band - And these tools have been at last sharpened to a razors edge.

"10,000 Days" is a definite "must have" for not only Tool fans - but for anyone who truly appreciates Music as art, instead of candy for your ears.

Sour has never tasted so sweet.

There has been a lot of anticipation and excitement centered around the release of this new album by TOOL. I waited a week or so before going out and buying it. I have read many reviews and now I add my thoughts.

First, the packaging. Nothing but kudos to the designers and particularly to the artist Alex Grey for producing what I consider the best album design in recent years. The idea of viewing the artwork, contained within a 32 page booklet, through 3D glasses, also provided with the album, is nothing short of brilliant. Once again, Alex Grey has produced wonderful art that compliments the album and music.

Now to the music. "Vicarious" starts the album in a familiar way. This track, released as a single, reminded me immediately of past TOOL efforts and I found my self thinking I hope the rest of the album shows music progression - a solid start but nothing special.

The album slowly starts to pick up from the second track onwards. "Jambi" is a hard driving number interspersed with softer moments and vocals from Maynard James Keenan and builds nicely through the use of a "talk box" to a great climax. Now this is different and unexpected but is still undoubtedly, TOOL. "Wings For Marie (Pt 1)" and "10,000 Days (Wings Pt 2)" continue the change in pace and direction of the music. "Wings...Pt 1" is both gentle and melodic then driving with great vocals and musicianship from the Band. "Wings..Pt 2" continues the musical theme and structure of Part 1. It is quite eerie atmospherically and brings to mind scenes from the sci-fi film "Blade Runner". These two tracks are complex with shifting rhythms and melodies. Absorbing music and quite possibly the best so far of any tracks laid down by TOOL.

"The Pot" is quite "grungy" a great rock piece with yet another change in melody and rhythm - if you like the group LIVE you will love this piece! I particularly like Maynard James Keenan's vocal and there is solid musical back up from the rest of the group - particularly from drummer Danny Carey. "Lipan Conjuring" is basically a North American Indian chant and a bridge to the next track "Lost Keys (Blame Hoffman)" which immediately reminds me of the music of ALICE IN CHAINS - dark, grungy and melancholy, with interesting lyrics and vocals.

"Rosetta Stoned" is hard driving metal musically and lyrically. To some it may bring to mind the "Black Metal" genre and is a distinct "throw-back" to "Aenima" and "Lateralus". Nothing melodic about this track, still the listener can not turn away especially when the North American Indian chant makes a reappearance, amid a great piece of guitar and percussion work. After the "apocalyptic" climax of "Rosetta Stoned", "Intension" begins quietly and continues the Native American theme, musically in the background. This is represented by complex rhythms and vocal chorus. A likeable track that is at once melodic and also show-cases each of the band members instrumental skills, well.

"Right in Two" is the last vocal track of the album and superb in execution, musically and vocally. It builds from an acoustic guitar beginning, into a fast driving wall of sound, with some very poignant lyrics vocalised well by Maynard James Keenan. The track ends as it began, softly and acoustically. The masterpiece track on this album!

"Viginti Tres" is an instrumental track, not musical in the true sense, but consists of industrial/sci-fi effects that, once again takes the listener somewhere into perhaps an apocalyptic future, that is cold, dark and forbidding. I don't know if that was the intention of the group, but I think that it is quite a fitting end to an album that is a progressive step musically for TOOL.

I recommend this album highly to all progressive metal fans and those rock music fans who want to listen to and experience a new direction in Metal music. A good 4.5 stars, the point five taken off for a lack of lyric sheet with the album - the inclusion would have resulted in a perfect score.

I wish it didn't take so long between Tool albums. But because it does take so long, the standards they're held to are much higher than bands that release albums every couple years. Such is the case with their latest studio effor 10,000 Days. After the near genius of Lateralus it's almost a given that they weren't going to easily top that recording. Just like with the stock market, the quality can't just keep improving forever without some type of reset. And I think that is the issue with this recording. As another reviewer pointed out, this recording sounds like the bridge between Aenima and Lateralus rather than the successor to Lateralus.

While 10,000 Days is not a bad album by any stretch; it just doesn't build upon or even approach the promise set by Lateralus. There are flashes of brilliance like with Vicarious and 10,000 Days among the missteps like Intension or the backward steps like The Pot. I guess as a band you've made your mark in the world of music when you can put out a recording that is better than just about anyone else in a genre and still be criticized for coming up short. At least the band scores bonus points for one of the coolest cd packages I've ever seen.

While I'm a huge Tool fan and have about 20 assorted live performances; I'm also not a fanboy. For me to give a 5 star rating I have to think that a recording is genre defining. I felt that way with Lateralus, but I don't fee that way about 10,000 Days. There's just too much lost and or unrealized potential for me to go that high. Tool has shown remarkable progress from the Opiate days till Lateralus. So if the band keeps putting out material in the future, we'll most likely evaluate this album as a speed bump on the highway of musical immortality.

After 5 years waiting, 2 months since I read about a new record, and 2 weeks of intensive listening, I'm more than satisfied with 10.000 Days. But my first impression was disappointment, then I listened it again, and again disappointment. Hey, it's Tool! I tried again, and here I am. I'd say it's like Aenima, not a masterpiece, but an excellent album, or maybe I have to say an excellent band. And why I say all of this. Just because it was difficult to me to get into the album, so my advice, don't give up until several tries.

Chapter apart for "Wings", one of the best songs I've ever heard. If you haven't read the lyrics yet, what are you waiting for? Maynard's voice is a moan from start to finish, as you might know, dedicated to his mother, Judith Marie, who finally died after 27 years, or 10000 days on a wheelchair. Amazing song.

The album goes this way: A great beginning, very toolish, which last two songs. Then the wonderful 10.000 days. After that you find a kind of hard rock song, The Pot, just to be played in the radio. Good track but nothing more. Then, a funny story about aliens or, well, about the "chosen one" they contacted (can't remember what they said). Intension it's like a come back in some way to Lateralus, but inevitable to highlight the drumming. Right in Two is the second great moment of the album, I think. Excellent song, just pay attention. This one was the most difficult to me but, at the end, nothing to say. And the ending, again weird sounds nodding ET stuffs. By night you even can get afraid.

I would really have rather given this album 4.5 stars, as I feel the only way it suffers is from a lack of any raw diversity between tracks, but the transitioning on this album helps cover it up amazingly. The riffs on this album are very instigating and repetitive (but never get boring in any way). As on any other great Tool release, this is an album that you throw on and get lost in with some of the most stunning drumming, production, and methematical riffing I've heard from any artist in the prog genre. The climatic harmonies that build up near the end of most of these long songs are truly moving, and the sometimes bizarre, yet brilliantly truthful lyrics really get you thinkin. Although at first it all sounds the same, this onion just keeps peelin its own layers with every listen, and takes some dissecting; but once you have heard it a few times you will be left in awe.

There are plenty of allusions on this album that refer back to the band's two most successful, recent releases: Aenima and Lateralus. This gives the sound on this album a sense of familiarity for the listener (that is, if you have listened to their past 2 albums), but throws plenty of curve balls which keep you head banging and slamming your hands on your dash board along with their signature unison chord patterns. This album rocks!

OK, first of all I must say i'm a french speaking son of a gun... A visible minority in my country, Canada... English Canadians don't speak french very much, but we, as a submitted minority speak and write english pretty well or maybe we're just better at learning languages... Anyway, this is not why i'm writing here

Let's talk about 10 000 Days... The new Tool album. To put things into context, i've been initiated to Tool in 96 when a friend of mine made me listen to Aenima... I was stunned!!! I was 21 at that time and really into prog, my bands were Crimson, Gentle Giant, etc... But i had a metal background, i loved Maiden and Metallica but I thought nothing new could be achieved in that particular genre.. But Aenima just stunned me, and I changed my mind...

Aenima is still the best Tool album, make no mistake about it... Not because it is better musically, just for the fact that it brought something new, something that no one was expecting. Songs like Eulogy, Pu[&*!#] and Third Eye will remain classics for that reason. Aenima will forever be my favorite Tool album, because they grew so much from Undertow, which was an alternative metal album among others...

I loved Lateralus, and I still do... I saw them at the Bell Center in Montreal, it was an unbelievable show! Now comes 10,000 Days, with huge expectations from the die-hard fans. I did not want to post a review without listening to this album at least 30 times, it would have been unfair... This is the kind of music you have to listen often and pay attention.

At first, I was a little bit disappointed, I thought it was not a very good album... But you know what? I changed my mind after repeted listens... I think this album is really interesting, challenging and has a lot to reveal. Songs like Jambi, The Pot, Rosetta Stoned and Intension need to be heard often to be appreciated at their fair value... Not to mention that Wings for Marie/10000 Days is probably the best song Tool has ever wriitten... That song reminds me of Echoes or Atom Heart Mother, it is a wonderful journey..Not too many bands can hit you right in your gut with such feelings.. Maynard is just unbelievable on that track, so is Justin Chancellor's great bass track. That song is a prog rock song period, prog at its best... It reminds me a little of PT's Arriving Somewhere But Not Here... same kind of emotional build-up...

The Pot is kicking ass, groovy song with Maynard's vocals very unusual and Carey's rhythm section so intense.. I mean Danny Carey rocks all the way through this album anyway, he's something else... For those who haven,t seen him live, don't miss it, you will be stunned no doubt about it!

I could discuss about every song but it would be a little too long... Some people think that there is too much "fillers" on this album.. This album clocks at 76 minutes plus... with about 10 minutes of "fillers".. and those "fillers" are intros to other songs, except for Viginti tres. What amazes me about this album is that when I listen to it, it seems it is lasting 50 minutes, even the longer songs pass by in a heartbeat, which is a pretty good sign I guess.

That being said, this is not Tool's best work so far... Aenima is gonna be tough to beat considering the innovations from undertow... But this is a very good album, as good as Lateralus was, and I think this material will be awesome live, so don't miss it!

I know the world doesn't really need another review of 10,000 Days but for what it's worth I thought the view of someone a little older (but not neccesarily wiser!) who's not big into prog-metal but who was blown away by "Lateralus" and gave it 5 stars might have some merit....10,000 Days is a damn fine album, but whether it's the fact I heard Lateralus first, or that unlike Lateralus, despite some developments in their music there are a few weak songs on this album, it doesn't quite match its predecessor for me. However, putting to one side the inevitable comparisons, it is a very strong album in its own right with some brilliant playing not least from the remarkable Danny Carey. If you don't know Tool my suggestion would be to start with Lateralus; if you do, well you've no doubt already got this.

A really good album, has grown on me consistently since I got it. A thinking ,am's metal masterpiece, although not as good as Lateralus. It still has my top two Tool songs, namely Jambi and Wings for Marie/10,000 Days. The rest of the album is good too.

Vicarious is a good rocking opener, about how bad the media is. Reminds of Schism and Lateralus mixed. A fully-developed and awesome song.

Jambi is tremendous. Everything about it is insanely good, from the machine gun riffs beneath the haunting vocals, to the moving vhorus and outro. A tremendous song, and my favorite from Tool.

Wings for Marie is the parabol to the title track's parabola. A slow, emotional, moving song, haunting suff. Dreamy.

10,000 Days starts off dreamlike, beautiful and haunting. It slowly develops and beings rocking harder and harder (via a sweet guitar solo) until it reaches its climax, and the last two minutes are calm and haunting.

The Pot is reminiscent of Parabola. It rocks, and is one of the catchier songs on the album, although there is a wealth of stuff to be heard. Good song.

Lipan Conjouring isn't bad as far as filler goes, and I don't skip it any more, but I used to. Its OK.

Lost Keys is maybe a minute and a half too long, but its hypnotic and not bad. So, OK.

Rosetta Stoned is the Ticks and Leeches of this album. It features a lot of good stuff, but it is overshadowed by the not-very-good vocal style; In T&L it was the screamy death metal stuff. In this, its some low fast talking stuff, not rap exactly, but not good. But its only at the beginning, and the rest of the song is more or less great, so OK.

Intension is way too long. Its not bad, but they could have lopped a good three minutes off. With that said, it is hypnotic and good, but its a tossup between this and RS for worst actual song on the album.

Right in Two is great. Great lyrics, music, instrumental parts, heavy stuff. Starts out slow and dreamy, then goes all heavy for the rest of its epic nine minutes.

Viginti Tres is also way too long, but it has some cool effects. Not a bad way to end the album, but like Faaip de Oiad, it is by far the worst track on this album.

So all in all this is a very good album of prog metal/hard prog rock. Everyone is in top form. The best songs are Jambi, Wings for Marie/10,000 Days, Vicarious, The Pot and Right in Two. Rosetta Stoned and Intension are less good, but good nonetheless. Lipan Conjouring, Lost Keys, and Viginti Tres are all filler, but they complete their task of keeping the flow of the album well. So, while I used to listen to tracks 1-5 and then 9 and 10, I now listen to the whole album straight through. A great album.

10,000 Days

Sorry for all ultimate Tool fans, but I consider this album is nothing compared to Lateralus. I always try to focus and review one album without comparing it to other album from the same band or different, but in the end, you will need some standard to judge the beauty of a certain album.

10,000 Days is Tool's fourth studio album and was released in 2006. The characteristic of the album is pretty much the same with Lateralus. The first thing to notice is the CD cover, which contains great artwork by Alex Grey, who created the cover of Lateralus as well. Same with previous albums, Tool never included the lyrics of the songs on the CD cover, without any reasons.

I always think that Tool is not 100% progressive metal band, since sometimes the songs lack of metal elements. Furthermore, the songs contain more alternative rock elements, also still progressive. In 10,000 Days, the alternative elements brought more so its kinda hard to judge and review also listen this album for the first time, since I expect more like Lateralus's songs style. Nevertheless, the album contains amazing hidden nuggets just like Lateralus, which I will explain more after this.

My favorite song in the album is Vicarious, which is the first track, and I think it's a very cool song for the opening track. The song got second rank in modern rock songs chart and its obvious because of the composition of the song, very good. The guitar part is very dynamic and the guitar riffs vary throughout the song. Wings For Marie is a song about Keenan's deceased mother. He explained in one interview, she suffered a stroke that left her partially paralyzed and wheelchair-bound. The length of time between the paralysis and her death was 27 years or approximately 10,000 days. This song is the followed with Wings For Marie Part 2, 10,000 Days. There are some songs in the album which influenced by eastern percussion and musical style, one example, Lipan Conjuring and Intension, which don't have modern drum riffs, instead percussions were used. The last song, Viginti Tres is somewhat a strange song, its like Lateralus's final track, Faaip de Oiad. The song doesn't contain any musical performance, no instruments and vocal sound, just some out-of-this-earth sound. I've seen on many website Viginti Tres is the Latin words for 23 (twenty three), which most people said this has some connection with disasters, and many occurrences.

So, in the end, I could just give four stars, because of some songs are just too weird, well, progressive songs are supposed to be "weird", but good weird. On the other hand, some 10,000 Day songs are lack of good musical composition. However, there are still some amazing songs, like Vicarious, The Pot, and stuff. I would not recommend buying this album if you are new into Tool, instead, buying Aenima or Lateralus.

Timur Imam Nugroho - Indonesia

10000 days is a great albumn, but not 5 star worthy. This is mostly because it, like many albumns today, doesn't add up to being anything close to Genesis, Yes, Crimson, Rush... etc.

However, in any case I'll rate the albumn by song.

Vicarious- Great opener, in 10 time. Cool intro, and overall good song.--9/10

Jambi- Great song, cool rhythm during the guitar solo. Awesome use of awkward time signature. Lyrics are great, and a strange mixture of creepy and pleasant sounding.--10/10

Wings For Marie- I know you will all shun me, but this isn't my favorite tune on the albumn. Actually, I think they should have put it and 10000 days together, then shortened the remainder.--5/10

10000 Days (Wings Part II)- I like this one way better than wings, but it still could be shorter. I'd say cutting a little off the guitar solo out... and I dunno. Anyway...--8/10

The Pot- Great freaking tune. Groovy bass line, and sweet sounding vocals. Also the "Weeping shades of indigo" part is pretty awesome. 10/10

Lipan Conjuring- I actually enjoy this tune. It's wierd and pointless, but cool.--7/10

Lost Keys (Blame Hoffman)- Sweet relaxing tune, but extremely repetetive.--6/10

Rosetta Stoned- My least favorite track on the albumn. Just 11 minutes of stupidity.--2/10

Intension- Not my favorite, but it's pretty cool. Sweet effects and such.--6/10

Right in Two- My favorite tune on the albumn. It's mostly in 11 time, which makes it doubly cool. And overall it's change in dynamics, killer drum solo, and sweet heavy parts make it amazing. 10/10

Viginti Tres- Wasted track, they could have put another cool song in this posotion instead of wasting everyone's time.--0/10

Yup, there we go. Some of my favorite tunes ever, and some of my least favorite tunes ever. But if you don't have it, buy the albumn, then burn a copy without Rosetta Stoned and Viginti Tres.

Over all the albumn ends up being 6.63 repeating, divide that by 2 and we get 3.318181818... etc.

Tool really dropped the bomb on this one, giving up good good musicianship and songwriting for gimicky packages and filler material. The band probably spend more time on the albums packaging than they spent writing and recording the album, its really that lackluster. Ive been a gigantic Tool fan for years, but I am very dissappointed in this. Every song is in the same key, giving the whole album a dull feel, and each song sounds very similar. This album is unforgivable.

Tool's unique style of dark/alternative/artful/progressive music coupled with troubling lyrics and especially their imaginative videos have all assisted in catapulting the band to superstardom over the years. In addition to 10,000 Days, they have three other very impressive studio albums in their back catalog: Undertow, Ænima and Lateralus...

There's a 45 second instrumental intro to the opening track "Vicarious" that segues into a much heavier 20 second passage before quieting down for the verses. I was surprised at the simplicity of it all, even if the music is very much progressive in nature, this only makes the album a little less accessible to the mainstream masses. The simplicity comes from one guitar, one bass and one drummer with some layered overdubs. The music is not as layered as say Katatonia who happen to share much in common with Tool on their very own 2006 release The Great Cold Distance. I'm going to be making some comparisons between the two throughout this review as I analyze and evaluate 10,000 Days. Anyway, back to the opening track, the 5/4 time signature, our infatuation with tv and needing to "watch things die" makes this song an absolute marvel.

The simplicity, from a metalhead's viewpoint, is even more evident on the second track "Jambi." There are moments on this one where the bass work reminded me of Pink Floyd, and other moments where I wondered if this was not Katatonia? One of the biggest differences between the two is in song length. Katatonia has a tendency to keep their songs below the 5 minute mark and keeping most instrumental interludes to a minimum (20 or 30 seconds max) while Tool embellish them and often for much more than a minute at a time on this release. "Jambi" is more straightforward in approach, but the layers of guitar licks really help to create this catchy groove that permeates throughout the song. The multi-layered guitar licks is something Katatonia embellish a lot though.

The almost 2 minutes in length instrumental intro to "Wings For Marie Pt 1" is a perfect example of what I've been talking about here regarding the long-winded interludes. Again, can't help but mention the simplicity of the music of the first 4 minutes before the very heavy 20 second break and the shift to the atmospheric 2 minute ending. This all serves as the appetizing intro to "Wings Pt 2."

The soft opening to " 10,000 Days (Wings Pt 2) " and Maynard's dry vocal delivery works particularly well for me. I love the bass lick, the delicate guitar work, the thunder effects in the background, I simply fell for the downtrodden feel of this one. I was really impressed with Jones emotional guitar work that appears before the thundering and very energetic moment just before the soft atmospheric ending...this song is a tribute to Maynard's mother. Awesome piece of work!

Maynard opens "The Pot" a capella. More simplistic work with the bass, electric guitar and drums in tow. Don't get me wrong here, the band works hard at adding complex little musical moments, but from a metal standpoint this is as simple as it gets. I mean, this is like Pink Floyd on steroids or better yet, take Katatonia's multi-layered music on The Great Cold Distance which is like 10 times heavier and more complex than anything you'll find here. Don't let the title fool you, the theme of the song is actually about hypocrisy...

"Lipan Conjuring" sounds like a native indian chant and is nothing more than an atmospheric interlude while "Lost Keys" sounds like a mess. There's this extended monotone opening warning sound that annoys the hell out of me. This is a little excessive and does not work for me...even if it was meant as the introduction to the next track.

"Rosetta Stoned" on the other hand, is a little more guitar driven. The FX on the vocals works particularly well again. I was most impressed with the music, I really like the energy created here. This is one of the heavier tracks on the album and it contains more experimental elements such as layered overdubs of voice effects. There's a simplistic guitar lick recurring throughout the song, not very bothersome at all though. Percussion loops accompany Chancellor throughout the track and helps to add complexity to the music. The guitar solo at the end is particularly effective and this track has perhaps one of the strongest ending. This is definitely one of the more rhythmically technical tracks on the album. Maynard tells the story of a man contacted by aliens while he was "stoned" on drugs.

I think the band's "Intension" on the very next track was to create a soft, atmospheric, experimental moment. I was driving home when I first got the CD when I heard the bells/siren ringing and I looked around to see where they were coming from. OK, I was fooled by the music, but come on, could have happened to anybody? lol

The opening moments of "Right in Two" immediately reminded me of Katatonia, while the latter would not have hesitated to go heavy very early on in the song, Tool prefer the slow build up approach. This is the other big distinction between the two, Katatonia are more straightforward, less build up, they have this lets anti-up the heaviness approach while Tool are quite the opposite. But the sound and tone, the style of music is very very similar even if the song composition and music can be quite different at times. Maynard compares humans to monkeys and how fighting for land often leads humans to animal instincts.

Instrumental sound effects and a deep voice close out the album in atmospheric bliss..."Viginti Tres."

Even if I'm not completely sold on the album as a whole, 10,000 Days is a very well rounded disc with a good mix of straightforward tracks like "Vicarious", "Jambi", "The Pot", "Rosetta Stoned" ; and the more lengthier progressive experimental tracks such as " 10,000 Days ", "Right In Two" and lets not forget the soft atmospheric experimental moments of "Wings For Marie Pt 1", "Lipan Conjuring", "Lost Keys", "Intension" and "Viginti Tres."

When you consider that some of the longer tracks also include soft atmospheric experimental passages, to many of them does not make an album complete. 10,000 Days is not a very heavy album at all and it only includes about 40 minutes of actual meat and potatoes. The rest is ambient music for those who enjoy the slow building tension that is often found on many progressive albums.

The album gets 4 stars for lyrical content, 5 stars for production, 4 stars for song composition and 3 stars for the overall music content. Average Overall Rating: 4 Stars. This means the album will still be on high rotation in your CD player after 50 spins or long after the probationary listening period has come and gone.

Ever since I took a chance on a little album called "Undertow" back in 1993, I've been captivated by this band. Every release since then has been received by me with no small amount of excitement and anticipation, and 10,000 Days has no exception.

I can only judge an album based on what it does for me emotionally. I am not one for overly technical examination of a piece of music (other reviews handle that better than I could anyway). Are the vocals too low? Drums? Is the guitar work not up to snuff? I couldn't care less; what matters to me is the "feel".

Lateralus was an excellent album, but it lacked something for me emotionally. I didn't fully realize that until I got familiar with this one, meaning close to a month of listening and a LOT of spins in the CD player. 10,000 Days is just packed full of great moments -- for me. It's a classic that will continue to reveal itself over time, and that's a true sign of greatness.

A prog/metal masterpiece! afer realy giving this album time to grow i have come to that conclusion that this album is very good and in my opinion yust as good or meby even beter then Lateralus. many say only the 2 first songs are great and the rest are a letdown i say no if you lisen to the album more then 8-10 times the music will start to grow and you will come to understand that all the songs are very good. from the begining even i tought the album was a big dissepointment after shutch a great album as Lateralus was but afer giving the album some time i have started to love it more and more and now i love it yust as much as the other Tool albums i have if it will beat Lateralus only time can tell but i whuldent be suprised if in some years this will be seen as Tools real masterpiece. the diffrence betwen this and the other albums in tools realtiv small catalog is tyhat its much softer it even remind a litle of pink floyd i think and meby thats why i like it so much. No mather if you never heard tool or if your a diehard fan this is a must have dont miss this fantastic album, and yes the album artworks are some of the best since Sgt pepper.

I hardly ever give a perfect grade to any album, but this deserves that grade. Yes lateralus was better but if we start writing honesty we'd have 11/10 for that album you know?

This comeback couldn't be better, it is exactly as I imagined it would be and it even impressed me a lot, I recommend you to buy this instantly.

and by the way, for all those who say Fillers suck...you should really try that thing called "musical appreciation"; I mean, just because you do not have the capability to understand those bridges it does not mean they are bad you see?

MASTERPIECE indeed

A bit of a disappointment after the five year build up, but still a decent record which despite some filler material and boring interludes contains some great songwriting and interesting melodies.

My biggest problem with this release isn't the actual material contained on it but rather the stagnation present in a band that I have always respected for progressing with each new release. The only member to really elaborate on his style and show some distance experimentation is Manyard who drops his patented screams for a new, more melodic style of singing which is downright haunting most of the time, greatly aided by it's new secondary, slightly faded, place in the mix. He comes out with some genuinely great vocal experimentation that covers a plethora of new styles, and he takes a more personal and less cryptic approach to lyrics especially great on the tracks "Right In Two" and "10,000 Days".

Adam Jones retreats further from a lead guitarist position and focuses more on textures and atmospheres but ultimately offers nothing different than previous albums. As a result John Chancellor's playing is showcased more and I must say this is his strongest album he establishes a great mood and keeps a fine groove. Danny Carey delivers another stellar performance but we've come to expect nothing less from him.

The songs here range from complete Lateralus rip-off, with " Vicarious", to experimental, up-tempo rocker, "The Pot", with a whole bunch of brooding, dark, atmospheric metal in the middle. Some filler used to create atmosphere just as on Lateralus, and "Rosetta Stoned" goes on for a bit too long, but overall most of the songs are of a very good quality. I really wish I could give a 3.5 star rating for this one but ill have to go with 3 stars. Some good tracks but nothing ground breaking here.

I have to admit I am not a Maynard worshipper, but the majority of Tool and APC fanatics I come across are. I got into Tool around the release of Lateralus and even then when I had no idea what prog was I wasn't too fascinated like everyone else seemed to be. I recently found out why.

It's what a lot of people before have said as "filler", which happens to be the prominent feature of this album, and I fail to see the reason behind all this "filler". I could imagine it just being some kind of "alternative" facade with no meaning whatsoever and that's why I find it so freakin' annoying when that's the only conclusion I come to. The difference between filler by other artists and filler on this album is that by other artists it still can be accessible even if it isn't that great! Yet with Tool no matter how much sense it DOESN'T make, people seem to dismiss it as some sort of "artistic direction" that is just beautiful because "Maynard is God".

I was anticipating the release of this album and when I got my hands on it I was expecting something maybe a little different and that's what I got. BUT saying that, it's not the good kind of different, it's the forceful kind.. I don't know but it just seems as though they are running out of ideas but no matter what, even if they decide to make a full 70 minute one track album full of rubbish static noises (that seems to ring a bell..) their fans will always stick up for them. It's amazing when a band succeeds in having a solid fanbase for themselves, .. It gets a little too overboard when people blow an album like this totally out of proportion!

Throughout it feels as if there's just one massive build up and we're just getting ready to rock out... yet it's like a rollercoaster being derailed at the very end of a steep slope leaving us hanging. It definately starts of good with "Vicarious" but still the track reminds me of rehashed material and they aren't introducing anything new.

Now "Jambi" is probably up there as one of my favourite tracks from the album, maybe it's because it took me in a positive way, and the riffs seemed really tribal and new at the same time.

I'm not going to go in depth about "Wings For Marie" because it would be a waste of time... and that waste of time could be compared to listening to both parts of "Wings For Marie".

"The Pot" RULES! Woah this is undoubtedly my pick from 10,000 Days. What can I say, I just wish 10,000 Days was filled with nice little tunes like this one. I really liked the intro and I was taken by surprise by Maynard's high vocals which because of a comparison made by a friend when I showed it to him, now reminds me of Jon Anderson from "Yes". The bass is also standout, and because of the bassist guy I am I love it!

"Lipan Conjuring".....

"Lost Keys (Blame Hoffman)" .....This makes even more sense than the last track!

"Rosetta Stoned" - Average.

"Intension" I'm pretty sure I don't care about this one, then again this is probably the less listened part of the album for me.

"Right In Two" It has a climax! Hooray! Still didn't capture my interest.

"Viginti Tres" Yeah... Maybe they should've stopped while they were ahead because this track is pointless to me, I mean who would listen to "Viginti Tres" and get pleasure out of it. What is the point of this track? What is going on? Doesn't sound like much to me.

Despite how negative I am I could imagine the good songs and even maybe average songs off 10,000 Days being amazing live and unfortunately that wasn't the first atmosphere I was to hear them in.

So this album starts of on a fairly good note, travels through the album inconsistantly, is actually quite atmospheric at times but there's never much going on which brings that aspect down, people overrate the hell out of it, there is too much filler and not enough action and something else I forgot to mention... Half a decade.. it took them to make this album, and I don't care if "Maynard" had this and that going on. As far as I know he had APC going on, which isn't THAT much.. Take a look at Frank Zappa, Buckethead or Devin Townsend and how consistant they are with their releases and good those releases are for that amount of time. Then you look at this and think 5 years.. wow that could be 5 awesome albums by another artist.

I think peoples praise is wasted on this band.

No hyping - a solid 4 star album.

TOOL is unpredictable.This time they've moved to more psychedelic side,even more than in their previous work,which was A Masterpiece.Ten Thousand Days open with VICARIOUS,the best track here (5 stars without hesitation!!!).The following Jambi,as well as closing Right in Two,is pretty good too.Others are odd,weird,stoned as Rosetta ;-). The Pot has quite unusual vocals from Maynard.By theway,the whole album shows lacks of vocals:Maynard sings pretty rarely and not in his usual great voice...only background noises and intimate whisperings most of the time(except for some "rock" tracks).This is the main thing to make TOOL's fans disappointed.Or maybe that's because of the whole psychedelic mood of the record? Don't know (this is what I usually say towards every TOOL's step!).Afraid to recommend it - decide for yourselves

the only 'flaw' of this album and the reason i believe made it so controversial among fans is that it sounds much alike the previous Tool albums..it's like an epitome of what they've done so far...from Undertow to Aenima to Lateralus, the band took huge leaps, sth that lacks from 10.000 days...

aside from that, all tracks bear everything Tool can show, things that made them what they are: the best band in the world...

Take my review from Lateralus, copy and paste... well, almost. Surely 10000 Days inscribe itself in the continuity of the previous album: sometimes the music is really heavy with crazy time signatures, sometimes it's much slower and darker - and surely the long songs and fillers are still there. However, there are slight differences (except the fancy packaging of course): first, the vocals are often softer and quieter - almost no screaming here, sometimes quasi whispering; second, the production is much better than for the past albums with a clear emphasis on each instrument; finally, the lyrics are *much* darker - death seems the main theme here. Overall, an enjoyable album...

"Vicarious": the track that I sampled before buying the album - simply awesome, with a 5/4 time signature that seems to be the trademark of Tool - blends perfectly heavy and dark passages - 10/10

"Jambi": now that's the real progressive song of the album - time signature is almost impossible to identify, as it seems to change every 20 or 30 seconds - a bit long though, so weaker passages couldn't be avoided - 9/10

"Wings For Marie (Pt 1)": one of the darkest song on the album, very calm except a 20 second burst of flame after 4 minutes or so - 10/10

"10.000 Days (Wings Pt 2)": a haunting song - still calm but with a faster tempo, and the bass totally in front - the song ends with the same mellow part as Wings Pt 1 - 10/10

"The Pot": starts acapella with bass, drums and guitar joining - maybe one of the most simple song on the album, but very catchy - 10/10

"Lipan Conjuring": one minute interlude with some sort of shaman incantations - a filler - 5/10

"Lost Keys (Blame Hofmann)": a soft intro to the next song - basically a clean guitar with some talking on the background - 7/10

"Rosetta Stoned": the heavy song of the album - more aggressive music and vocals, but with still complex elements - a bit long for this type of song though - 6/10

"Intension": a quiet and repetitive song, but very enjoyable - 9/10

"Right In Two": another highlight of this album - this song starts slowly and then builds on heavy riffing before slowing down again at the end - don't miss the "right in your face" lyrics too - 10/10

"Viginti Tres": what to say about this? - every Tool album ends with some kind of freaky pointless track without any music - this one has one or two cool sound effects but that's all - 2/10

Rating: 80/100 (4 stars)

I consider this album to only have 5 worthwhile tracks: Vicarious 9/10 Jambi 8/10 The Pot 9/10 Rosetta Stoned 9/10 and Right in Two 11/10

the Wings for Marie / 10,000 Days combination is an overall good song, but its boring. While I like mellow/haunting songs of this nature, no matter how much I hear this song it doesn't hit me. Lipan Conjuring is an annoying noise track, skip. Lost Keys is a pointless intro to the next song. Intention is another filler track, repetive and seemingly pointless, lacks ideas and the feeling of a song. and Viginti Tres is just garbage noise.

Vicarious is typical Tool, a strong opener for the album Jambi is somewhat strange but will grow on your as a strong song. The Pot, Maynard does some interesting vocals on this song and it's extremely catchy. Rosetta Stoned is great epic metal song with insane lyrics and vocals, very intense. Right in Two is by far the "Lateralus" of this album, and excellent song with great time changes, melodys and everything.

If you like Tool, you'll like this album. It's no Lateralus though, but has strong moments.

4 - 4.5/ 5

Unfortunately after much debate and an extra listen after I took my notes to make sure of it, I'm forced to conclude that TOOL's latest album only merits a 2.5 for me. TOOL is a band that's been around for 16 years and spent five in the process of creating the follow-up to their masterpiece Lateralus. To be fair, following an album of that genius would have been almost impossible for anyone--but after this much time and the experience and even financial means TOOL should have been able to bring to bear on the writing and production, I expected better and did not get it.

That's not to say that 10,000 Days is an unmitigated disaster--and when it's good, it's great. "Wings for Marie (Pt. 1)" and "10,000 Days (Pt. 2)" in particular are outstanding: here KEENAN shows off the full dynamic range of his vocals and the lyrics cleverly walk the line between faith and faithlessness in a way that seems more like OPETH than anyone. In fact, OPETH's Morningrise, especially the softer interlude of "The Night and the Silent Water" comes to mind when I hear this suite. It is interesting to note that OPETH absorbed some of TOOL's atmospheres on both Damnation and their most recent Ghost Reveries--but beyond this suite and "Intension," "Right in Two," and yes, even "Vigenti Tres," it seems largely absent here.

Rather, TOOL seems to return to its earlier days here, and even without having heard their pre-Lateralus albums, it's quite obvious this means a return to a cruder time in both a lyrical and musical sense. In terms of technicality, I should be clear that aside from a lack of dynamism to KEENAN's vocals, and the faint mixing of them compared to the music, nothing is lacking production- and playing-wise. In this way, the experience is akin to my perspective on DREAM THEATER's Scenes from a Memory: individually many songs are at least somewhat pleasant to listen to--a few even extremely good. Put together, though, the album runs on too long and all but a few star songs blend into obscurity. In an ironic twist, even my CD player seems to balk at trying to fully read this album.

Unfortunately for those parts of 10,000 Days that could have been used to create an album that could've come close to Lateralus, there are such undistinguished numbers as "Jambi" and "The Pot," and the underdeveloped "Lipan Conjuring." However, while these are still listenable, by far the greatest disappointment was "Lost Keys (Blame Hoffman)"/"Rosetta Stoned." At first, this suite seemed to have the makings of a great conceptual piece like a mini-The Human Equation in both theme and atmosphere. At the same time, I was reminded of QUEENSRYCHE's Operation: Mindcrime, and that should have been a warning. Immediately with the transition into "Rosetta Stoned," this piece descended into the same kind of vulgarity-for-the-sake-of-sales that riddled Mindcrime--and to judge from the parental advisory stickers on TOOL's earlier albums, their previous works. Shocking images can have their place--OPETH's Still Life certainly ends with one...but what OPETH understands is that the image is best left vague to a certain degree; beyond the intimations of the lyrics, clever atmospherics on the part of the band and the imagination of the listener ought to combine to do the rest.

A "climactic" line like "godd*mn--sh*t the bed" just goes and throws all of that mystique away.

While none of the other songs on the album are quite that boorish in content, it is enough to leave a very bad taste in the mouth of one who favors sophistication over cheap shock. In the end, despite my best efforts to like this album that came in such fancy packaging, it's clear that 10,000 Days will soon go the way of Scenes from a Memory, an album packaged with equal pretentiousness in purposeless solos: burned to the hard drive and occasionally sampled in pieces...the enjoyable pieces, anyway. The album itself I'll probably sell, and based on this disappointment I am unlikely to ever trust enough to purchase another TOOL album without hearing it first in its entirety. I had hoped that they had outgrown their immature past, but apparently not. Casual and non-fans would be advised to consider carefully before purchase.

Let's see: Fairly long single, a little experimentation, a mish-mash of various prog metal and various useless filler. Yep, it's a Tool album alright.

Vicarious and Jambi are nice openers and say, "Hey, this isn't Lateralus II!". Oh, wait, nevermind. They sound like they came from the recording sessions for that album. That's not so bad, though.

Most of us prog nerds are making a big deal about the Wings combo (side note, I really hate when bands randomly split songs up like this on CDs) but I'm really not too entertained by them. The first part is boring and the second part is bland. Also, if you were expecting something about the around lyrics here, go read a different review.

The Pot is... it's a Tool song. Yep. Keenan does some rather strange vocals here and I don't think they're too effective. Lipan Conjuring is... it's a Tool filler. Yep.

Lost Keys tries to present itself like a Tool filler, but it comes out sounding alright. Also, apparently I'm in the minority, but I think Rosetta Stoned is the best track on here. Rather strange vocals for part of the song here too, but in this case, it's the best vocal effort Keenan's ever done! Very strong song!

Intension, much like the first part of Wings, is pretty boring. Scratch that, it's really boring. This is a side I've never seen of Tool. They had that lame, boring, filler tracks before, but never did they bore me with one actual song on an album before, let alone two! Weak!

Right In Two is... kind of like The Pot II, but sans the high voiced vocals. I guess that makes it better.

The last track is awful and I'm really unconcerned about how, "WOW YOU CAN PUT THEM TOGETHER AND IT SOUNDS COOL". That's no excuse!

You know, when I started writing this review, I was going to stick with my previous thought of four stars. Now that I think about what I've written about these songs, it's more like three stars, maybe even 2.5. Sigh. Maybe they'll make something better in 2011... wouldn't count on it though.

Because Tool have this tendency to release their albums five years apart and because there's also this other tendency of producing masterpieces, turns out the anticipation prior to each release reaches fever pitch. Perhaps "10,000 Days" has disappointed some people, and it certainly puzzled me for the first couple of days, but now I'm pretty sure this is quite simply "just" another Tool work of art.

As usual, the album is broken down into segments, groupings of tracks even if it all naturally flows from start to finish and it's over before you know it. "Vicarious" starts off powerful, great riffing and in a sense it reminded me both of Aenima, Lateralus and even A Perfect Circle mixed together. It segues naturally into "Jambi" which is another powerhouse of a track, including a most excellent talk box solo by Tool's guitar player Adam Jones.

I had some hard time trying to intuitively make sense of the "Wings For Marie"/"10,000 Days" segment that follows, but it was just a matter of turning the volume up a notch and letting myself get involved in the eerie atmosphere of these tracks. Beautiful, just beautiful. And moving.

From here, highlights for me are definitely "The Pot", old school Tool again with a great riff and "Right in Two", a beautiful slow song which showcases Keenan's amazing capabilities. The rest of the band is at the very top of their form as well. The music tends to revolve around Jones' guitar, which is versatile as always, but Justin Chancellor really does a great job with a lot of unconventional and powerful bass lines. As for Danny Carey, what else to say, this guy is simply one of the best drummers out there these days.

One can argue that this album has some filler in the form of tracks like "Lipan Conjuring" and "Lost Keys (Blame Hoffman)". Even the Wings segment stretches things out a bit. But in the context of Tool, it simply makes sense. I'm giving it 4 stars - and it's 4,5 stars really - partly because there's still 10% of the album I don't quite "get" and partly because I feel the "excellent addition to any prog music collection" description fits it perfectly. It's very likely, though, that within a couple of years this'll warrant the extra star.

I got this album, rather excited from all of the other reviews. Sadly, I was greatly let down.I still enjoy the album, but itsn't at all what I expected.

This album has some catchy tunes, and good riffs. Unfortunately, I think this album is very dry with the exceptions of Rosetta Stoned, The Pot and Vicarious. Each of these songs are unique. They present a good rhythm, and are fast-pased, well-flowing, and keep the listener on the edge of his/her seat.

The problem I have with this album is that the rest of the album dosen't live up to those 2 great songs. Tracks like 10,000 days are obnoxiously long, and for no apparent reason. They seem to be going nowhere, and build to nothing.

I feel that from a band as strong as Tool, more could have been done than the same, repetitive, Mellow Sounds of Intension and 10,000 Days

There is also a tad much of FILLER on this album. Lipton Conjuring is an interestin idea, but they did nothing with it. Lost Keys should be murged with Rosetta Stoned because they are so similar, and worst of all is Viginti Ties. That song is not really music at all. It it just sound effects. It is a waste of 5 minutes of your life, really.

I've let this sink in now, and to say I am dissapointed is an understatement. I guess I expect more after a lay off of 5 years, and certainly more from a band as capable as TOOL is. I was especially excited when I heard they would be referencing from MESHUGGAH, a band I really enjoy, but alas the comparisons are few and far between. I was amazed by the Aenima record, and I still am, maybe TOOL is a 2 album wonder and have nothing left in them, but I really doubt that's the case, Carey is too good of a drummer.

This album isn't bad, but it's certainly not good either. The first tracks sound like something that got deleted off Lateralus becuase it wasn't good enough to put on that album. TOOL has always been somewhat of a pretentious band, and that typically doesn't bother me, as long as it doesn't get in the way of the music, I really don't mind. However, here, it seems to have really effected the music, with brash conclusions made by the band, along with a lack of mystique that previous albums had.

This album has more peculiarities to it, but they don't seem to fit well with the music, and often times you just feel like ejecting the disc and putting in Aenima, because you realize its much better. Fans will enjoy though, for the most part.

Tool finally made a return, 5 years after "Lateralus" with "10,000 Days". It's more like the previous album than their 90's material, but that's not the best way to describe it.

"Vicarious" blew me away when I first heard it. The 7/8 time signature is interesting and Maynard's vocals have taken an interesting turn. I can't describe it easily but it's just an amazing song.

"Jambi" continues to impress with it's repetitive riffs and bongo style drumming, which reminds me of the album cover. It has a tribal feel. The talkbox solo at the end is the highlight of the song.

"Wings for Marie (pt. 1)" is a depressing first part to the second part, and is sort of a build up, or a shortened version to the second part.

"10,000 Days (Wings pt. 2)" is a really epic song, sounding similar to the first one, and both of these tracks are very proggy. The end is one of the high points of the album, very epic.

"The Pot" is an amazing vocal performance, and is up there with Vicarious. The soft bongo style drumming returns as well as a ripping guitar part.

"Lipan Conjuring" is one of Tool's trademark "filler" tracks. In this case, it's just a bunch of tribal people chanting.

"Lost Keys (Blame Hoffman)" is the intro to "Rosetta Stoned", an amazing track which is so complex that it could take months to make sense of. It's very heavy and is from the point of view of a man who was abducted by aliens. Bizarre and mysterious.

"Intension" uses a lot of elecronic noises, and it isn't very Tool-esque, but is still pretty damn good.

"Right In Two" is another strange one and reflects a lot of what this album sounds like. It stands alone as a really good song. It's a good finale. After that we have "Viginiti Tres" which is a bunch of wind noises travelling from speaker to speaker.

This album is one of the first ones I'd go for if you're looking to get into Tool. It's almost as good as "Lateralus", although it is different from anything they've ever done before. It's got an awesome packaging design, with a pair of goggles attatched to view the album art with. All the more reason to purchase this great CD!

Tool's first album since 2001's Lateralus has them treading into unmarked territory (at least for them). Let me say this first and get it out of the way, if you're looking for Lateralus II, you won't find many connections with that album (except maybe in the first track). In their 16 years of existence as a band, Tool have released four studio albums, one live album and an EP, the fourth studio album being this one. I'll also say that along with Ænima that this is my favorite Tool album, as there aren't really many sore spots, except for some meaningless interlude tracks between the more exciting pieces. This album is a 70 minute journey that will have you at the edge of your seat, as there are many twists and turns in the sound and the variances between the lighter more atmospheric sections are quite stunning and ultimately very creative at the same time.

The opening track is really the only thing on the album that has any connection with the previous album, that song being Vicarious. The unison and disorderly riffing from Jones and Chancellor combined with the bells from Carey coming into the staggering 5/4 main riff is quite brilliant if you ask me. Chancellor and Carey are superb in the rhythm section and Jones offers some nice counterpoints with his precision riffing before going into the solo middle section and the closing ending section (with a fantastic start stop riff). Fantastic opener in the end. Jambi follows with a consistent 9/8 guitar theme from Jones and slowly the other members of the group add in to the sound (especially the spacey bass sound from Chancellor), but Jones remains the foundation of the piece. Jones also unleashes a wicked talk box solo towards the end to round off the song nicely, though it does meander around the same riffs. Wings for Marie is an atmospheric introduction to the epic 10,000 Days. It contains dancing guitar melodies (heavily echoed and delayed) and a spacey bass line with some nice underlying percussion from Carey and Keenan's quiet almost spoken vocals. It's a pretty cool piece, but doesn't really go anywhere for the length that it is. 10,000 Days (which is Wings Pt. 2 where Marie was Wings Pt. 1), though, makes up for it. It begins where Wings for Marie left off with dancing guitar and bass melodies and consistent drum work from Carey before picking up in intensity (mixed storm effects also queue in this dynamic change). Although it's a slow buildup to the climax around the 9 minutes, it comes off successfully and really hits a heavy ending with powerful riffing from all fronts. The Pot begins with Keenan's vocals over a tabla/bass groove that soon brings in an crushing main riff that relies on an ascending lead and resulting feedback. It's an ok piece but not something I would call brilliant, although the riffing is pretty killer.

Lipan Conjuring and Lost Keys (Blame Hofmann) follow and are probably the most useless tracks on the album (along with Viginti Tres, but there's something to it that makes it worthwhile if you read Zitro's review you'll see what). Lipan Conjuring is just chanting for a minute and adds nothing spectacular (or even anything at all) to the album, and Lost Keys is essentially what Wings for Marie was to 10,000 Days for Rosetta Stoned, an instrumental interlude that rather than waste another track on could have been added on. All it is is guitar feedback and a repetetive guitar riff played over and over again. Rosetta Stoned, though, makes up for it. The alternating 4/4 to 5/8 riffing in the intro is really cool and Keenan's distorted vocals add a sense of tension to the sound. Alternating 5/8 and 6/8 (or is it 11/8) make up the main vocal sections and staggering start stop riffing comprise a key component to the vocal performance. It's not the best song on the album, but it's among my favorites. Intension is a mellower piece that has a heavy bass presence and Danny utlizing the tabla to compliment the more light atmosphere (despite the bass being very heavy here). Jones unveils a mixed guitar riff underneath a dynamic bass line and Carey using some electronic drumming. It's a song filled with noodling and what some would call filler but I like the instrumental prowess of the group. Right in Two is my favorite piece on the album, as it has all the elements of a great song and surpasses them all. A great main guitar melody (in 11/4) is played is subtle variations throughout the piece (along with mixed percussion and tabla from Carey and some well timed guitar harmonics), and what begins as a quiet more psychedelic piece ends as a full blown rocker with a staggering riff towards the middle of the song. Keenan's lyrics and vocals are also superb at all parts of the piece, but the music is the main draw as it is nothing short of fantastic. Fantastic 9 minute rocker and the last true piece on the album. The album ends with Viginti Tres, which is more or less a 5 minute soundscape that is probably one of the most useless pieces I've ever heard. It does end the album on a desolate and frightening note, as the song does has a spooky atmosphere to it that is pretty enjoyable.

In the end, I think you can't go more right with a purchase of 10,000 Days. Although there are some meaningless tracks that act more as filler than anything else, there are a lot of really strong pieces that make up for them. It's not a masterpiece, but it's damn close to one and is tied with Ænima as my favorite Tool album. Highly recommended. 4.5/5.

121 th Review of this Album - You'd Better Skip it!

How would you react to the statement from the musician you adore when he said his appreciation towards certain band? Are you impacted with the statement from the musician of your idol? If so, how far can you go beyond the limit of your musical boundary should the band that your favorite musician appreciates does not comfort your taste? Think about it!

It happened to me with respect to TOOL. I knew nothing about the band and did not really intend to explore further as I was in doubt if the music is not that far away from those under progressive metal box. But when I read an interview between progarchives with Rick Wakeman sometime last year, I remember clearly that Rick Wakeman mentioned that TOOL is an excellent band. Oh .. to me Rick Wakeman means a lot as his work with Yes as well as solo have cheered my childhood days. So if Mr. Wakeman said that TOOL is an excellent band, I should explore. When this album was released I did try to purchase it from amazon but I refrained from "click"ing because the site mentioned "Customers who purchased TOOL 10,000 Days also purchased ." and you know what appeared at my screen? Pearl Jam! Wow .!!! Does TOOL associate well with Pearl Jam? Are they in the same box? By that time I was not into the kind of Grunge music yet - until recently when I frequently deal with younger people in our country's rock organization i-Rock! - so I get used to the music of Pearl Jam as well.

My curiosity about the band did not stop and finally I got the album and had it spun. I was impressed by the first spin as I like the kind of music TOOL plays. Swear, this is nothing to do with Mr. Wakeman anymore. The opening track "Vicarious" (7:08) is kicking and I accepted the track at first listen. The main characteristics of TOOL music is its repetition in basic rhythm section and/ or riffs. If you don't get used to this kind of music, it might be hard to accept this album. "Vicariously i, live while the whole world dies. You all need it too, don't lie" sings Maynard James Keenan. Yeeeaaahhh .!!!

So what makes the music of TOOL interesting then? Two things, I think. First, the use of textures that accumulates from simple to more complex ones with its intensified guitar effects / solos by Adam Jones and much more dynamic drums by Danny Carey. This might also happen with powerful voice of Maynard James Keenan which can sustain high register note for such a long time. Second, the soundscape that sounds really good - even excellent as the sonic quality of the CD is excellent. These two things have made it worth owning this album for your prog music collection.

"Jambi" reminds me to the name of our province in Sumatera, Indonesia. The term used by the band seems like referring to the place where it's mentioned like "sultan" etc. This track brings the music into heavier riffs using similar style as opening track. There is nice guitar solo during interlude which makes the song much dynamic. Under "Wings For Marie (Pt 1)" (6:13) the band explores the ambient psychedelic style. Seems like this track is introducing to the entrance of another ambient track (no. 4) which serves as ambient style as well "10,000 Days (Wings Pt 2)" (11:15) with repeated guitar fills that might bring you to a boring feel.

"The Pot" (6:24) is truly my favorite as it has a dynamic texture in relatively simple structure. The texture is basically formed thru the use of bass guitar which plays really tight and pivotal in this arrangement, augmented with guitar riffs and fills. It starts wonderfully with powerful vocal - similar to the voice style of The Mars Volta, I think. "Who are you to wave your finger? / You must have been out your head / Eyehole deep in muddy waters / You practically raised the dead " - oh what a wonderful opening lyric! The music flows marvelously with firm beats of bass guitar combined with excellent drumming and guitar fills.

"Rosetta Stoned" (11:13) is another favorite of mine. I like how this tune is really compact in structure, rockin' in nature especially with heavy guitar riffs, wonderful repeated chords and tight bass lines. Again the band shows its consistency in improving the textures as the music flows using guitar and drums. I remember King Crimson music as I listen to this track many times - well, at least the way Danny Carey plays his drums is similar with Pat Mastelotto or Bill Bruford in new King Crimson music.

Overall, it's definitely an excellent addition to any prog music collection. Despite many influences from other bands, TOOL is a unique band. My reference is only for this album while I'm now ordering other albums of the band like "Lateralus" and "Aenima". The reason I need to purchase previous albums is that I like their music. Keep on proggin' ..!

Peace on earth and mercy mild, GW

I purchased this album back when it first came out earlier this year and am just getting around to writing my review now. I have to admit I remember being really excited to hear this album because of Tools previous achievements, but I find it hard to go back and listen to it again.

Two words come to mind when I think about this album. Let Down.

I would have to say that most of Tools albums have a time period that must pass before you get hooked, but it hasn't happened for me on 10,000 days.

I'll admit that I enjoy Vicarious due to its progressive nature, but the majority of the rest of the album left me hanging! Vicarious is still nothing copared to Shsim for me. A masterpiece.

Jambi is progressive and has roots from previous Tool albums. But for some reason, I feel the song lags on forever. It never hooks me or does anything to inspire me.

Wings For Marie and 10,00 days for me is a complete waste of space! I'm sure Tool are attempting to build a soundscape with the vast open, long held notes. My problem is that it doesn't sound like a song what so ever.

The high point of the album for me is the chorus of the song The Pot. "You must have been sooo hiiigh" is the only catchy passge on the album that was worth remembering.

Lipan Conjuring and Lost Keys shouldn't even be on the album what is it? They don't even sound like an actual band. It sounds more like a sample or something of that nature. Not a real composition. It's over 4 and a half minutes of dead air. A real disapointment.

Rosetta Stoned sounds like a prog/rap with a LOT of repeated riffs. Again, the lack of any true inspired composition really gets to me.

By the time we get to the final track, Right in Two, you might be asleep. Another song that has roots of Tool but never gabs my attention enough not to want to switch to another album worth listenting to.

In ending, I guess I shouldn't have had such high hopes for this album but I did and I was let down by 10,000 days. Vicarious and The Pot are the highlights of the album. If they didn't waste so much space on the album with dead air and actually wrote more actual songs, this would be a much happier post and I would be a much happier reviewer.

Definitely a masterpiece. You can realise it as of the first listen. Moreover the packaging is superb.

The two first songs are Tool classics. Fast, nervous and really effective. Even if it is very reminiscent of the previous albums.

The next two songs form a dyptic. Probably one of the top tracks in the album. Great, great stuff.

"The pot" is very catchy, well constructed, well played (especially the bass work).

"Lost Keys" is an intro to "Rosetta stoned", a crazy technical track with amazing riffs and links with "Third Eye" (AEnima) and the triad (Lateralus).

The two last pieces are other top songs. Mellow, misty, simply magic.

Wow. 5 stars without hesitation. Tool rocks !!!!

I've listened to this album several times and just haven't been able to get into it. Tool as also been a group I haven't been able to get into as much as everybody else. Sure I've heard Lateralas which is an okay album, AEnima wasn't that great. I'd probably say I like AEnima as much as I do this album. Tool does have talent, an extremely good Bass Guitar and drums. But thier style has always seemed to repetitive to me. Tool has their moments to make me say, hey this is good, such as Jambi and Vicarious and Intension. But the rest of the album just doesn't strike interest in me, such as the Wings Part 1 and 2, I don't like those. I didn't like The Pot-Rosetta Stoned. The songs after Intension are decent ones like Right in Two.

My consensus is that if your a Tool fan you'll love this album, if your new to Tool or have heard some of thier other stuff and thought it was Okay, I'd have to say this album is meant only for completionist or the lovers of Tool. I give this album a personal 2/5 and nothing much more.

Utterly execrable album. 10 000 days disappoints so much for two main reasons - 1. Essentually, without taking any prior knowledge of tool into account, and judging the album based purely on its own merits without tool's lofty previous achievements being taken into consideration, with no expectation at all, this is a terrible album. More on this in a minute. 2. With prior knowledge of tool and their previous lofty achievements, when taking into consideration that lateralus and aenima were both sublime masterpieces, plus the weight of expectation borne from 5 friggin' years waiting, this album is a hideous mess.

Vicarious - Not too bad i must say, but its really just tool paint by numbers. Adds nothing new to their sound. PLus the lyrics are sub-par for maynard, one of if not the greatest lyricist in the metal field - rhyming `die' with `dies' is pathetic. Jambi - A cool talkbox solo is the only good thing about this song. Not much else to say. Wings for Marie - quite boring really. the atmosphere is ruined by a a seemingly random punctuation of metal after a few minutes. it really seems like there's no point to it. 10 000 days - Some stunning vocals and excellent, poignant lyrics rise this song out of the dull mire it would have wallowed in had it been devoid of these. It never really gets going though - it just waddles along with little purpose. Vastly inferior to previous tool title tracks The Pot - (or how the terrible and annoying song titles continue) Horrendous, laughable vocals start this abortion of a song. Seriously my friend and i just laughed at how bad the vocals are at the start. It doesn't get much better after this. More tool by numbers, except this has a more gritty, undertow feel to it. Lipan Conjuring - Previous tool segues were either funny, intelligent, interesting, or a combination of those three, but this one isn't. Pointless, and kinda childish really. Lost keys - Pointless. An Australian doctor features. Rosetta Stoned - Wow, more drug references. Lateralus this ain't. Rambles on with little discernable purpose. `god damn [&*!#] the bed' ...there are no words.... Intension - Boring, pointless insipid crap. Right in Two - Not bad, but just more tool by numbers. Viginti tres - Just noise. Pointless again. A real anti-climax.

10 000 days is a terrible album. Get all their others instead. Lyrically a failure, artistically a a failure (just an old alex grey painting, not even new commisioned art), and most inportantly, a musical failure. Avoid.

After 5 years of long wait, 10,000 Days came with a taste of disappointment. "Vicarious", "The Pot" and "Right in Two" are good tunes, but basically cliches of the band classics. "Wings" (part 1 and 2) add for the first time an emotional core to a Tool album, but the result could be much better, particularly the first one, which can be boring as the monotonous line of guitar seems to never end. They lack precisely what the band does not have - keyboard atmospheres. Particularly positive moments of the album are the strange guitar solos created by Adam Jones.

Overall, it is a good album, with great bass and guitar riffs, nice vocals and magnificient drum rythms, but it does not keep the pace of originality Tool had made before. It does not represent trully a step forward for the band, insufficient for such a long wait.

An excellent heavy and atmospheric album. This is my first Tool album and I've had it for about 5 months. Originally I was skeptical of Tool because I knew about their alternative and angry tendencies. However, this album is excellent in every respect.

I originally was not a fan of the vocals on this album at all, as I'm more of a James Labrie and Geddy lee fan. After listening to this album several times, I have began to enjoy the vocals quite a bit. Many passages are heavily distorted, while many others are higher and contain a softer legato type of vocal approach. Songs such as "Rosetta Stoned" really show off James Maynard Keenan's vocal capabilities.

I am also amazed at the drumming on this album. Danny Carey is a fantastic drummer with a rhythmic almost eastern approach that focus more on the toms than cymbals and drum fills. His drumming fits very well with the dark atmosphere of this album. In my opinion his performance is equal to the studio performance of Mike Portnoy on several albums.

Being a bass player, Justin Chancellor is amazing to me. His bright mid-ranged Wal bass tone is fantastic as is his playing, which is clearly audible throughout the album unlike many metal bass performances. His mellow but sharp playing on songs such as "10,000 days" is very good.

Adam Jones' guitar performance is also great on this album. His tone and playing is very unique and dark. His heavy passages are filled with distorted guitar with a uniquely bright tone. The soft sections are very mood driven and rhythmic at the same time.

Some people think that the spacey passages and whole songs are a waste of time and are pointless noise. I think they are meditative sections that are almost like deep breaths between the heavy, complex and angry passages throughout the album.

Overall this album is highly recommended, but takes time to get into. If you like dark atmospheric progressive metal and don't mind long spacey sections and slight alternative tendencies, then you should get this album.

3.5 stars really!!!

Not really one of the most prolific groups in terms of studio recording, Tool is one of the most spectacular newer metal bands, and their equally spectacular CD production. Yes, this neat .. promotion tool is a rather outstanding artwork even if it could've been bettered designed (most notably in terms of storage), which will probably be reserved for the first edition.

Tool's special form of Psych-progmetal is still rather unique (although I would never call it groundbreaking, either) almost a decade after their second album, the excellent Aenima and it still sounds as good nowadays with this album. There are many outstanding moments on this record (and it is certainly one of my fave from 06): from the awesome two-part title-track (Wing pt1&2) to the powerful Lost Keys, while the slowly evolving, haunting but quieter Intension is building an intense crescendo leading directly into Indian percussion derived Right In two. The only weak point being the closing track, which is not really one, filled with sound collages, which is coming either way too late or best left out.

One of the slight problems is its length, as this album is filled to the brim and by the time you get to the two thirds-mark, a sense of weariness appears: I mean, this yet another ProgMetal album among the many hundreds, and let's face it, this old dog does not have much use for an another of those. Sometimes I wonder if Tool would not be better off releasing shorter albums with a bit less time between them as this album could easily make 1,5 normal album. But for those wanting to discover the style, this is certainly one of the better specimens.

4.5 stars. I'm disappointed that this album is a little underrated. 10,000 Days has become my personal favorite Tool album.

10,000 Days is a great album. It has some of Tool's more mellow songs, "Wings for Marie", "10,000 Days", "Intension", and "Right in Two". However, the album does not lose Tool's intensity, with songs like "Vicarious" and "Rosetta Stoned". My favorite song on the album is the title track. "10,000 Days" is just a fantastic song, and it has become one of my favorite songs. The lyrics are beautiful, the subject being Maynard's mother. It is a rather dark song, but those are some of my favorite types of songs. My other favorites on the album are "The Pot" and "Rosetta Stoned". The only song I don't get on the album is "Viginti Tres" at the end, it's very strange.

This is an amazing album. Highly recommended!

After being a Tool fan since their first steps it's rather difficult to write a review of this album. I tend to agree with many people that this is not the best Tool album so far. Still this record has a lot to offer. Yes they don't go too far from their previous works, I believe that there is a small downfall after the sixth song but these demerits can only steal one star from this review.

Because this album, just as every Tool album, delivers lessons to all of us. Whenever you listen to Tool music you sense something different. You feel that there is something dark, heavy but also sweet and sour in the atmosphere surrounding you. It overwhelms you. If you are searching for straightforward music or for complex virtuoso music then you must have problems digesting this music. The only label you can put to their music is "Tool".

Usually I don't review the albums song by song cause in prog usually we are talking about concept albums or at least "based on an idea" albums. But in this case I must make an exception and say a few things about the title song "10.000 days". The lyrics of this song and the story behind it mends perfectly with the changes and the climax of the music. It opens your "third eye". As for the rest of the songs well they can make you tap your fingers or bang your head. And the musicians, well, they are so solid (drums - bass - guitar) taming their riffs and inventing rhythms. I believe that in this record the drums steal the show.

I was about to give 4 stars. Then a heard a new fan saying that this album is his favourite. Maybe it creates something in you that in my case it is already there. So 4.5 stars from me. Almost perfect.

Tool - 10,000 Days

This album was both my introduction to Tool and Prog Metal. A mention should be given to the artwork of this album which is incredibly interesting particularly the 3D images included within the booklet which really add to the quality of the albums unique packaging.

The album kicks of with Vicarious which starts relatively slowly with just a bass riff and gradually builds up until the guitar comes in with a very heavy distorted riff which mirrors the bass. The lyrics are quite dark and very well sung. This song is a perfect opener for the album.

Next up is Jambi which is a slower paced song that Vicarious but at times has a stronger psychedelic feel which adds a lot to the texture of the song. The use of a talk box about 4 minutes in to the song is interesting and doesn't feel out of place.

Wings for Marie and the title track are basically one long piece which really shows off Tool's spacier side with a low tempo repeating riff which circles around your head when listening through headphones, the song slowly build ups and then slows down again before a heavy guitar riff comes in briefly, after that it returns to the original riff and the song really slows down. 10,000 Days starts with a bass riff similar in feel to the main guitar line of Wings for Marie and the song continues in the same vein as Wings for Marie. During this song some interesting storm sound effects are heard which makes the song feel dark and gloomy. After the 'storm' section the song builds up to a louder and heavier version of the main riff which finishes abruptly and the original riff starts again and the song winds down. These linked songs are definitely the highlight of the album.

Following 10,000 Days is The Pot, is faster paced than the previous songs and features some very good bass playing. Towards the end of the song it starts to fell slightly more upbeat than the songs before it, before returning to the main riff which speeds up and leads to a very abrupt ending.

Lipan Conjuring is little more than a one minute interlude but the vocal work is very interesting and prevents it from being a filler track.

Next up is Lost Keys which starts with a continuous note which fluctuates in pitch slightly, the bass and guitar enter with a very slow riff the vocals in this song are a conversation in a hospital about an unknown patient, which gives the song a very bizarre feel.

Lost Keys segues in to Rosetta Stoned which starts with a very heavy riff and fast talked vocals. As the song gets heavier the vocals are almost screamed, then the song suddenly calms down before building up again to another heavy section. The riffs change several times and the song's pace slows down slightly but stays heavy. The riffs continue to swap around for the rest of the song which is one of my favourites on the album.

Intension slows the paces of the album again and the whispered vocal give the song a mysterious feel. In my opinion this song drags on a bit too much as after about 4 minutes it starts to get a bit dull.

Right in Two is slightly faster than Intension and starts with a simple but beautiful guitar line, the vocals are quiet and restrained which gives the song a very relaxed feel. The bass adds a slightly heavy tone to the song and the song really benefits as the the pace quickens slightly and builds up into a heavy section about 4 minutes in to the song, which fades out to a very interesting percussion section with a repetitive chord sequence in the back ground which builds up into a very heavy section which continues until around the 8 minute mark where the song slows down and slowly fades out.

The final song on the album is Viginti Tres, which starts with several slow repeating sound effects, which fades into a another section of different sound effects before fading out, an interesting end to an interesting album.

Overall the album is very enjoyable despite a couple of down points and served as a fine introduction to Tool and Prog Metal for me. Not quite a masterpiece but still a very good album. 4 stars.

4.5 stars. This just keeps growing on me, unlike "Lateralus" which was love at first listen. Man this album has a lot of bottom end to it, the windows in my truck literally shake when I turn the volume way up.

"Vicarious" opens with this dark and brooding soundscape that gets really intense a minute in.The bass is great ! This is such a good song. "Jambi" has even more heavy bass on it if that's possible. I like the way the guitar plays over the lava of bass and drums. "Wings For Marie (pt.1)" has this thick, stifling atmosphere throughout with a brief breakout after 4 minutes. This song blends into "10,000 Days (Wings pt.2)" a song that gets better as it goes. It has a similar heavy sound as part 1, with some samples of thunder and rain. As the heavy atmosphere leaves so does the storm, and check out the guitar melodies 5 minutes in.

"The Pot" is another great tune with higher pitched vocals to open with some good bass lines. The guitar is heavy throughout and the sound is amazing 4 1/2 minutes in. "Lipan Conjuring" sounds like natives chanting. "Lost Keys (Blame Hoffman)" has some noises while the guitar slowly plays and then we hear people talking. "Rosetta Stoned" is punishingly heavy with fast paced vocals. This vocal style changes and the drumming is quite impressive. The guitar is good towards the end of the song. "Intension" is different with noises and softer, distant sounding vocals. Some really good drumming and the heaviness is back. "Right In Two" opens with guitar and it becomes as heavy as hell ! The percussion is cool, and the song speeds up to an amazing sound. "Viginti Tres" sounds like noises from the pit.

Another dark, heavy and atmospheric winner from TOOL !

This album comes with a unique case, it’s provided with a pair off glasses(??) to see the 3d booklet inside. The booklet contains pictures related to the cover, band members, and tracklisting. Lyrics? Again, they don’t put their lyrics in their album. Also, it contains a hidden nugget on the band member’s picture.

Now, straight to the music..

• Vicarious; A great opening track, starts with guitar and bass work with some toybox sound for the background. Again they have succesfully made a great opener to interest the listener toward listening the album.

• Jambi; starts with ashtonishing guitar work and then.... nothing more, not as good as Vicarious though.

• Wings for Marie Pt.1 – 10,000 Days (Wings Pt.2); This is the masterpiece of the album!! Slowly build, but very exciting and very interesting. The first part is more like the opener to the ‘real’ track [Wings Pt.2]. and the second part strengthens the first part, with the sound of rain in the background that makes this track more emotional. This two-part songs makes this album worth to buy!!

• The Pot; Quite easy-listening track for Tool, but the melody repeats again and again until the track ends.

• Lipan Conjuring; the 1st filler, sound like a praying shaman.

• Lost Keys (Blame Hofmann); 2nd filler, what the?! Why did they put two fillers in a row?? guitar feedback sound with repeating guitar riff in the background, and some chatting

• Roseta Stoned; A really boring track, don’t waste your time listening to this track. Next..

• Intension; ......another so-so track, nothing special, similiar to Disposition from Lateralus

• Right in Two; hmm,again another track that i found not attractive at all.

• Viginiti Tres; The last song is the last filler.. it has some creepy sound at the end.

Overall, this is not Tool’s best album They made a great opener but didn’t manage to keep up the excitement throughout the whole album.The only thing that makes this album worthy is the 2-part masterpiece “Wings for Marie Pt.1 – 10,000 Days (Wings Pt.2)” The rests are just songs that Tool played.

So Three Stars is enough.

A successful band comprising of notable musicians who name-check many progressive groups and sadly fail to rise above their own influences. Spurred on by the advances in music during the '70s, they incorporate these challenging elements into their music, yet unfortunately choose '90s style alternative rock as the second element of their musical compound.

The outcome is occasionally surprising but usually regrettable - Tool choose fascinating meters as the foundations for their songs but combine them with forgettable guitar sequences. I often think that were Tool simply a drum circle with no melodic instrumentation to speak of they'd be essential listening.

OK, here's the thing. As much as I love this band and love every last one of their albums... I must say I was thoroughly dissapointed with the overall content of this album. The way the album comes across is... too much strong messages within the songs being presented but as far as the music quality goes, it's pretty much non-existant. Fair enough, the start of the album is excellent right up to the very end of The Pot... After that, you might as well change the CD as far as I'm concerned.

Vicarious - Powerful, strong and full of thought. A well presnted piece of musical art Jambi - Melodic and gentle in a way, when compared to Vicarious Wings for Marie (parts 1 & 2) - One of the best songs on the album, without a doubt. Very powerful message, well documented highly recommended as an all-time great prog-metal song. The Pot - Beautifully artistic. Great vocals where Maynard really shows his skill Lipan Conjuring - A fill in track, no comment. Lost Keys & Rosetta Stoned - Moderately OK IMHO. I know the heavy bass is a massive part of the song, but to me, it brings the album down with it's noise. Intension & Right in Two - Too soft, not enough actual Tool sound involved. Fair enough, it makes a good closure for the album but to be honest, an ending like the mighty Faaip De Oiad would have been much better Viginti Trees - I mean, honestly. What the hell?!?! No comment, it shouldn't be there.

Overall, 3 of 5 stars I'm afraid. Nothing like the 5 I'm about to give Ænima...

"10,000 Days" is my second album by Tool, after recently picking up Lateralus. When I first turned it on I thought the first track, 'Vicarious', was wonderful. However, after that, there's no spine to the music. It quickly wears itself out and is boring. 'Jambi' could have been a good song, but it's about 4 minutes too long at 7:28. 'Wings for Marie' and '10,000 Days' just are long and drawn out, while the vocals on 'The Pot' are just disturbing in a bad way. Although 'Lipjan Conjuring' is one of the better ambient tracks I've heard in a while, the remaining songs are just bad. This is a very boring album, I recommend it for those who are Tool fans only.

¨10,000 days¨ was the first Tool album that was a little dissapointing for the fans and i believe there are several reasons for that, the most important one is that everyone was expecting an album that was Better and if possible SIMILAR to ¨Lateralus¨ and that is not easy to do, it did not happened, this album is not better than ¨Lateralus¨ but does that make it bad? don´t think so. Also when you listen to Tool´s discography is easy to notice that none of their albums is similar to the other in any way but ¨10,000 Days¨ has so many songs and parts that are similar to previous albums, i read in a review the other day that this album seemed to have a bit of every Tool album and well that is not necesarily bad but it´s a first for Tool.

¨Vicarious¨ opens the album with a cool intro and it´s a good Tool song, lyrics here are totally different from anything ¨Maynard¨ has ever written, many people believe that the solo in this song is played by ¨Adam Jones¨ but it´s actually played by ¨Justin Chancellor¨, ¨Jambi¨ comes next and is also very good and strong, more usual lyrics from ¨Maynard¨ here and awesome solo by ¨Jones¨. ¨Wings for Marie¨ and ¨10,000 Days¨ (Wings for Marie part II) a beatiful song divided in two parts, maybe one of Tool´s best song ever, this song lyrics are about Maynard´s mother who was paralized 10,000 days and died recently, so of course it´s a very melancholic song, very emotional and it´s also the first time Maynard´s writes this kind of lyrics, beatiful, touching, but it kinds of slows the album for me, i really would have prefered this songs to be at the end. The ¨Pot¨ is next, i believe is Tool´s biggest hit ever (ha) strange vocals from ¨Maynard¨ at first, actually very scary (for a moment thought it was Justin Timberlake) but then the song goes hard great vocal performance by ¨Maynard¨.

Now here in track six the whole album changes for me, up to here everything has been very good, but then comes ¨Lipan Conjuring¨ a totally idiot segue, some kind of chanting or ritual, horrible. ¨Lost Keys (Blame Hoffman)¨ is the intro to ¨Rosseta Stoned¨ it is almost 4 minute intro where ¨Jones¨ keeps playing exactly the same riff over and over and there is a conversation in the back. So then comes ¨Rosseta Stoned¨ which was believed to be the star of the album, i am a Tool fan and really, this song is just bad, weird and crazy and long, similar in some ways to ¨Third Eye¨ from ¨Aenima¨ but totally inferior, for a non ¨Tool¨ fan maybe the most horrible thing ever heard. Track nine is ¨Intenssion¨ a song very similar to ¨Disposition¨ and ¨Reflection¨ from ¨Lateralus¨, good relaxed song. ¨Right in two¨ is the last real song on the album, could be the best in the album, the more proggy also is actually a very good song. The last track is ¨Viginiti Trees¨ which is just some strange sounds, i HATE this closures, pointless... but they keep doing it since ¨Lateralus¨, i much prefer a good closure for an album like ¨Third Eye¨ in ¨Aenima¨ but well..

Good Album, Very good but not as good as Lateralus or Aenima, so 4 stars.

5 YEARS AFTER

My first approach with Tool was in 2001, I remember I was watching MTV and suddenly this band came into play with their video of "Schism" and I was amused, the heavy metal sound was familiar to me, but the math rock sound (I didn't know what the hell was Math Rock in that time) was so new, the bass playing was awesome and of course, the artistic images fit perfect with the music of the band. I've always considered Tool as a great heavy metal band, but a mid-class progressive band, I've never got so much into their music. This was their first record since they've released "Lateralus"; which was a landmark in their career, with great success as in the critic circles as in the charts, so we all were waiting for a kick ass album and we got the constant Math Rock sound, but in this time Tool adds a little bit of Post Rock parts that spice very well the album, but there are some pieces that are just simply annoying and senseless in my opinion like "Lipan Conjury" and the last track "Virginiti Tres"; which are some kind of fill up songs that have nothing to do with the thematic of the record. The tracks that stand out from the rest are the opening "Vicarious" and "Lost Keys" that explore a little bit more than the previous Tool job. So concluding, this release is not that bad, but I think they had a lot of time to deliver something far much better that this, so at the end of the day I'll just give it 3 stars.

Well, firstly TOOL is a recent discovery. I've ever considered their works very overrated and poor, but first impressions are mostly wrong. So I gave TOOL another chance, everyone spoke well of them, of their complexity, ecc., so I had to be the problem, for sure. And, hehe, I was the problem, at all.

10,000 DAYS is such an amazing album, a very painstaking work, very complex but with many emotive picks in the whole minutage (very high at all). Before analyzing the music side, two words about the artwork. MAGNIFICENT. One of the best in the whole music history, I think.

Our journey starts with VICARIOUS, awesome intro that leads easily into 10,000 DAYS mood and atmosphere. Lyrics and music are perfectly mixed and both with Keenan's weird voice make this song be one of best in the whole work. (9-)

JAMBI is quite similiar to the precedent track, anyway it has moore groove and speed and an unbelievable bass & drum line. The result sounds a little more inferior than VICARIOUS. (8)

Then, WINGS FOR MARIE first "wings" part. Very strange structure and melody line. Almost an ambient track, a very dark one. It's good, but it sounds like as it's gonna explode in any time, but it doesn't. (7+)

Second "wings" part, 10,000 DAYS has some similiarities with his predecessor but it's way more definite and also amazing and emotive lyrics that like in case of VICARIOUS, can mix with music in a perfect way. Ten and more minutes will flew away in an unbelievable way. (8.5)

THE POT is an unexpected track, while being anyway TOOLish. Keenan's voice and melody lines will hypnotize and mesmerize your senses, so pay attention. All TOOL's groove and power explode in a magnificent way in this track making surprised all listeners. Worth listening. (8.5)

LIPAN CONJURING sounds like a minute of weirds Indian's chorus that maybe has the honor, with its successor LOST KEYS, a totally atmospheric, thoughtful and mellow track, of introducing maybe the best track in the whole album, ROSETTA STONED. A stunning guitar riff, combined with raging Keenan vocals, wake us up and makes us wandering in our souls mazes. Lyrics are simply PERFECT and decuplicate the value of this fantastic track. It'll make you want to cry and cry again. (9)

INTENSION has the job to relax our sense shaken and raped by ROSETTA. Seven minutes will easily flew away taking with themselves some slow and mellow, psychedelic and athmo issues. Nice, so nice. (7.5)

10,000 DAYS' outro name is RIGHT IN TWO, considering VIGINTI TRES only a couple of weird noises. It begins with a heartbreaking guitar arpeggio that leads into vocals (as in the whole album, lyrics are masterpieces). It reminds me a bit VICARIOUS track. The whole song seem goes in the same direction, but slow guitar's arpeggio will lead in an amazing drum line on about fourth minute. After an unexpected tribal extract music becomes heavier and systematically more violent. Such an amazing outro. Only a bit repetetive. (8+)

10,000 DAYS could not be your favourite, you could not like the intricated and difficult band sonorities. Give this album many listenings while reading lyrics. Because, I say, this is a music masterpiece.

9-/10 - 5 Stars

NOTE: Tool is definately a band of aquired taste!

This was my first album I got from this band, at first I didnt understand how the band works, but after a couple hundred or so (exageration) listens I finally got it. Now Tool is my Favirote modern band! Ok to the review, I'm only doing the REAL song! NO Lipan Conjuring, lost chords, or Viginti tres.

Vicarious- A phenominal song! so what if its a little mainsteam, everything is in place! This being the first song, shows how Maynard has stepped up as a singer and really shows off his vocal chords, without yelling, or screaming. The only complaint is that the lyrics are pretty stupid, cause I'm pretty sure Maynard does not nead to see things die! 9-10

Jambi- Many people say this song is overdone and repetitive, well I learned how to play it on guitar, and I must say it is very hard, complicated and well thought out. The guitar keeps a driving, yet non-intrusive rythym, to show off Carreys amazing skill, and Chancillors beautiful bassline. This also happens to be some of the most thoughtful lyrics tool has produced! 10-10

Wings for mary part 1- I cant help but feel that this song and the next are just a remake of parabol/parabola, but what the hell they're great! This song (like parabol) is very mellow and you cant understand a word... its great 8-10

Wings for Mary part 2- The best song on the album lyrically, and Adams best guitar solo! Jones is always bashed for his lack of soloing, so he hands it right back to them by giving the people one, for about five minuetes! "Fetch me the spirit the son and the father, tell them they're pillar of faith has ascended". I cant tell whether thats religous or anti religous, either way a superb song! 10-10

The Pot- Not very good, Though Maynards vocals are sweet and beautiful, its way too commercially acceptable, its simply not made for the music, which I find very disgusting! Also the instrumental section completely collapses on them. 3-10

Rossetta Stoned- Yet another song about drugs, at least I think, Maynard is too pissed off to understand throughout half of the song. Still it is better than the Pot. Some nice playing by the band, but not a very firm song structure. 5-10

Intesion- This song is a good song to cool down from the very angry rossetta stoned. very emotive and some very nice percussion from Carrey. Gets a little boring though after the first five minuetes. 7-10

Right in two- Its true a political message song... from Tool, Holy crap its good though. It starts with an eerie acoustic and percussive intro, with Maynard questioning why God made foolish humans have free will. Then goes into the most powerfull riff in the album, complete with palm muting and even a small drum solo! This song never fails to impress me, everything is excellent! 10-10

Well, there you have it, if this album didnt have so many do nothing songs and mainsteam craving, it would be a complete masterpiece! For now 4 stars will do.

Six Months later...

Wow, this album is almost unistenable to me, but I cant just change a rating DRAMATICALLY because of lapsed time. 3 stars.

Tool - 10,000 Days

Hailed as one of the best album of its year, Tool's "10,000 Days" for me was the album that really caught my attention for this American band. Part of what got me interest in this band was down to the unique album cover. The three-dimensional images and the special 'glasses' make this album stand out on display in any record store! It is not the most practical packaging for placement within your CD collection though.

Musically seen it's all rather typically Toolesque: i.e. a lot of repetition of melodies, especially on the guitar, and percussion based drumming. Even the occasional outburst of ambient noise is present yet again! (Not counting the rather pointless hidden track!)

Unlike my experience with Tool's previous album "Lateralus", here I find most of the album rather good. It comes across as a more balanced album. Though, how much I like this album, I have to admit that the charm of this album is not its means to progress, but its ability to hypnotise the listener by means of the often present droning playing of the instruments, most noticeably the repetitive guitar structures!

Nice fact: apparently the Wings for Marie songs in combination with the hidden track Viginiti Tres can be synchronised in a sound editing program and make up a 'new' song, that is: the original 11 minute title tack (Part 2 of the suite) will be expanded with additional instrumentation and ambience from the two other tracks and these blend in perfectly!

NOTE: This is my first review, be gentle.

Buying this album (along with Lateralus) was my first venture into progressive metal, a genre I usually shy away from. But I gave it a chance...

The epic pieces on this album are great, and manage to stay interesting throughout the whole song. The "Wings" suite stuck out to me among the rest of the epic pieces (but pieces like "Rosetta Stoned" are great too). They are my favorite parts of the album, but even some of the more short "filler" tracks are interesting, especially "Lost Keys (Blame Hofmann)." I only question the inclusion of "Lipan Conjuring," because it seems like an odd track to put in there, but other people seem to like it...

The only drawbacks on this album to me are the screamy voice Maynard sometimes uses. Of course, this is only my personal taste, so disregard this comment unless you feel the same way. Luckily, it isn't used too often on this album, and the screamy vocals aren't near the screamy growling done by other metal bands, which I very much dislike.

Musically, this album was interesting, although a bit repetitive during certain songs. It reminds me a lot of "Red" era King Crimson, especially when both bands have such great percussionists. But lyrically, I honestly can't say a thing, because I literally just _don't_ listen to lyrics :)

I have to say I was very surprised with this album. I wasn't sure what to expect as I was new to the genre, and it was a genre I typically dislike, but the record was a very listenable album, which fans of the genre/band, and new fans can enjoy. As one who just got into the progressive metal genre, I can recommend both this album and Lateralus for starting points. Highly recommended. 4/5 for a great release.

10,000 days (literally) translates into just over 27 years... isn't that how long it takes Tool to release an album?

Anyways, apparently the time was well spent, this album is fantastic. Following up Lateralus wasn't going to be easy, and this is pretty much about as good as they could do. The disc is home to two 10-minute+ songs and a variety of 5 minute tracks, as well as little bit of filler, but it's all good in the end.

The band seems to have a hit a nice little niche by now, with each album containing material that could fit on their prior albums, material that is completely new, and material that hints where the band is going. Not to meantion that all the parts are played to perfection. From the opening riff of VICARIOUS to the very end, it's easy to get lost in everything that's happening, and even as you listen to is one hundred times you can still find something you missed before.

As for the songs, some of the best come in the form of a more listener friendly Tool. THE POT and VICARIOUS were the two singles, and each one easily widdles it's way into your heart. JAMBI and RIGHT IN TWO are even better, as they're more inticrately constructed, and less "friendly" leaving Tool fans with more to listen to. The best parts of the album, however, are the longer tracks, WINGS and ROSETTA STONED. WINGS is actually two parts (WINGS FOR MARIE PT. 1 and the title track), the first of which slowly introduces the song as done formally by Parabol/Parabola, while 10,000 DAYS itself is much more haunting and heavy. An excellent track by all means, with some great vocal highlighting by Keenan, but we should know by now that Tool does not disappoint on title tracks. ROSETTA STONED, paired with LOST KEYS is the other epic. Harking back to the "Aenima" days, we see a much heavier, sparatic band than on the former tracks. The song seems a bit scattered at times, but is quite good in the end.

About LIPAN CONJURING and VIGINTI TRES it's also good to note that, yes, the tracks are filler, but LIPAN is kind of a nice intermission that eases you from one epic to the next. As for VIGINITI, it's a kind of strange outro to the album, about five minutes of zone-out time.

But hey, this is a great offering by a band that seems to be only getting better with time, hopefully their next will be as good, or even better. 4 stars, maybe not a masterpiece, but certainly the next thing to it.

This is the next Tool album after the awesome Lateralus and it took five years to be released. The expectations on my side were accordingly high. Unfortunately the album was a heavy disappointment. It is very different to Lateralus in style, concept and (imo) quality.

Vicarious: I really like this track and it's my favourite of the album. It has the same feel as most Lateralus tracks, basing on riffs with complex rhythms and powerful vocal melodies. The problem, however, is that it seems a bit out of place on 10 000 Days. It would have been better to release this track on one of the Lateralus singles than on this album. When I saw them live a few months ago, Maynard "forgot" to sing the concluding chorus, which for me is the most important part of the song, I felt kind of let-down. 4.5/5 Jambi: This song starts with an odd guitar riff that at first seems interesting but soon becomes very annoying. The whole song features non-stop staccato muted riffs with silent and weak vocal melodies. In the middle, there is a talk box-solo which fails to make the song more interesting. 2/5 Wings For Marie, 10 000 Days: Now the big epic of the album starts. Both parts are very atmospheric and melodic. They have great build-ups until exploding in catchy riffs. The problem, however, is that both parts follow the same basic structure, just that the first is smaller and the second bigger. Additionally, for my taste, both take too long until something happens, that it feels a bit monotonous. 4/5 The Pot: This song sounds very fresh with freaky riffs and catchy melodies. The instrumentals breaks in the mid unfortunately do not add the extra "kick" to the whole, like in other Tool songs. 4/5 Lipan Conjuring: Unnecessary. 0.5/5 Lost Keys/Rosetta Stoned: Lost Keys acts like the intro for Rosetta Stoned and live, they are always played together, so I rate them as one song. Here Tool is once again very innovative; it starts with long spacey sounding guitar notes eventually leading into a driven beat over which the effect-manipulated Maynard "raps". Soon, however, it becomes boring and odd lyrics destroy the atmosphere of the beginning. Once again, it is too long. 3/5 Intension: A very quiet song. It starts with tasty bass playing with whammy effects, guitar and vocals join in, but the song does not develop and stays on the same level for seven minutes which is definitely too long for such an intermission. 2/5 Right in Two: This is the last real track and is also calm in the beginning, but suddenly bursts out with a heavy riff before coming back to the former themes. This track is not too bad but fails certainly in closing the album. 3/5 Vigenti Tres: Like Lipan Conjuring, but five times as long. 0.5/5 Final Rating: A clear 3/5

This album isn't quite as good as Lateralus in my opinion, but it is still a masterpiece of modern progressive rock music. It's true there is some filler, but all the songs are amazing. Wings for Marie Parts 1 and 2 are simply perfect. The cd really only has 6 songs but every single note is in the exact right place. This cd is sheer melodic brilliance. I can't recommend this album enough. You simply have to listen to it. If you're into modern sounding progressive rock than this is easy listening music. It simply sounds perfect.

In the last 2 / 3 years, I was surprised by the spectacular TOOL´s music. And when I listened 10 000 days, I confirmed that TOOL remains the great level (very similar AENIMA´s album). This Cd is similar in energy and songs to Aenima. First at all, VICARIUS, with is spectacular riffs show us the terrific level of Adam Jones, specialist with his guitar in dark atmospheres. Not only VICARIUS is a great song. JAMBI, WINGS FOR MARY part I, THE POT, ROSETTA STONED and RIGHT IN TWO have the similar level, with more than 6 / 7 minutes each songs. As usual in TOOL, some tracks like LIPAN CONJURING and VIGINTI TRES are only filler.

With this CD, TOOL confirm, in my opinion, his special place in the top metal prog groups ever, with DT, Riverside, Shadow Gallery and others.

The songs

VICARIUS 9 / 10 JAMBI 8.5 /10 WINGS FOR MARY part 1 7.5/10 10 000 DAYS 6.5 /10 THE POT 8.5 /10 LIPAN CONJURING 2.5 / 10 LOST KEYS 5.5 / 10 ROSETTA STONED 8 / 10 RIGHT IN TWO 8 / 10 VIGINTI TRES 2.5 /10

4.5 stars to 10 000 days

When i first my copy of 10,000 days i was so excited to listen to it. After i was done listening to it i thought this is not what i expected. i guess i thought it would be something like their last release,which was the masterpiece Lateralus.So the second time came around for a listen and it was much better than the first. TOOL opens up all their albums with great song and Vicarious is a great example.Next is JaMbi the guitar work at the start of the song is amazing, a very solid TOOL song,and guitarist Adam Jones is a very under rated guitar player. Then Comes the Two songs that make the album.Wings for Marie and 10,000 days, Something very different for TOOL.Maynard vocals are very low but yet it goes great with these two songs, 10,000 days is also one of the greatest song ever made by the band.Very epic.Then comes the pot,a very catchy tool song with great bass playing by Justin Chancellor.Then a filler we will skip this song. Lost keys is a good intro/bridge to Rosseta Stoned.The vocals on this song are very difficult to listen to but i like it,something different, this song compares to pu[&*!#] or third eye.Intension is a song i did not really care for but now i love it.A very calm song.Then Right in two comes along.This is my favorite track on the album, good lyrics by Maynard and vocals,Adam and Justin are just awesome and the the Man who steals the show is Danny Carey. His drumming is just amazing, how does he do it? After Right in Two the album should just end but there is a another filler!For that i give this album 4 stars.TOOL always come through with great music.Very different from lateralus. A great follow up to a masterpiece.

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.

After giving this album countless spins, I just can't bring myself to give it the four stars that I feel instinctively inclined to grant one of my favorite bands. Because when all is said and done, although there are certainly some excellent tracks here, the final product comes off a bit flat in the end.

"Vicarious" kicks the album off with a bang. As usual, Tool opens up with an ass-kicker. Excluding the somewhat commercial chorus, everything about this song rocks. Danny's drumming is spot on, and Maynard's darkly subdued vocals explode at just the right time. "Jambi" is similarly awesome, although it comes off as a bit patchier than it could have been. It seems to have two separate developmental sections, and I'm not sure whether they fit that well together. In fact, this seems to be the biggest problem with 10,000 Days. The album seems to peak in its mid-section with both parts of "Wings for Marie," which are both beautiful and inspiring pieces of songwriting. "The Pot" then seems to come out of nowhere with its funky rhythm section and unusual vocals from Maynard. Don't get me wrong: it's a great rock song, but it just doesn't seem to flow very well from the preceding epic. It's "Rosetta Stoned," though, that I feel really drags the album below excellence. I've always felt that a song over 7 minutes should be worth the time, and I'm still not sold here with this 11+ minute piece. There really isn't anything inspiring here, and the music just never grabs me. And this is not corrected by the final song in "Right in Two," which is surprisingly dull, the lyrics often coming across as uncharacteristically juvenile.

I say "uncharacteristically" not only because Maynard is arguably one of the best lyricists in the prog-metal scene, but because most of the lyrics on 10,000 Days are just as brilliant as we've come to expect from him. In fact, I wanted to give this album four stars just for the lyrics. Similarly to Lateralus, Maynard seems to create a sort of thematic story in 10,000 Days. He exposes the ills of the bloodthirstiness that often comes with a detached hypocrisy by reminding us that sufferring is real and unglorious for those who must cope with it. This way, he forces us to question how we should approach those who suffer or have sufferred, and this can't be a bad thing.

Despite the brilliant lyrics, though, 10,000 Days just never seems to lift off. It's a very good work, but other than a few tracks, I can't say that it's excellent.

OK I'm shallow.

I reckon the CD packaging integrated 3D goggles and artwork are enough for at least 3 brownie points or a Blue Peter badge depending on where you come from).

I did not expect to like Tool. I'm a spaceprog/symphonic/zeuhl fan (sheez what an anorak). Aenima really surprised me. Lateralus was also tremendous. At first 10,000 Days

The opening Vicarious is typical of the strong rhythmic driving metal expected. As ever the vocals are measured and clear. The guitar lead work is different. There's been a lot of thought put into creating interesting tones rather than a proliferation of notes. Maybe that appeals to the space progger in me.

Here's the rub with this one. There is more thought, more attention to detail, subtler use of tone. The tracks do not have the same strength as Lateralus or Aenima. It's a trade. the more I listen to this album the more it grows on me: the previous two I've heard were more immediate.

Maybe it's 5 years too early to review this one. I'm no Robert Parker, but this young album seems set to mature well: one for laying down 94-96 (2012-2018). An essential addition to any cellar.

The tongue-in-cheek likeability of the first two songs aside, 10,000 Days is not consistent with the extreme creativity and songwriting prowess Tool displayed on their previous two albums. Many of the songs seem to be crafted with the intent of appealing to the heartstrings of fans, delivering recycled ideas and sounds which could easily of fit into either Aenima or Laterlus. A few new textures here and there do not make up for the other 60 minutes of straight-forward Tool.

While I find very little here that is actually bad (the Pot is about the worst song they've recorded)-- none of it connects or resonates as strongly as their previous material. Keenan's lyrics as, taken as whole, boring; not as smart or scathing as before. He puts his heart into a lot of the delivery, but he comes off as sounding contrived. Jones gives us a few new sounds to listen to, but Chancellor and Carrey seem to phoning this one in.

For me, this album is redeemed by the extended pieces (Wings and Rosetta), but not by much. Maybe our expectations are simply too high, or maybe ten thousand days just wasn't enough for the band to recharge their energy. Either way, this one definitely comes after Aenima and Lateralus.

Songwriting: 3 Instrumental Performances: 3 Lyrics/Vocals: 3 Style/Emotion/Replay: 3

Look, I don't care if this isn't the groundbreaking masterpiece that Lateralus was (the band didn't have any more ground to break, folks), but I defy anyone to listen to the title track epic without getting chills down your spine! I contend that "Wings for Marie/10,000 days" is Tool's finest piece thus far. Wow! It is powerful, chilling, and dang it's got polyrhythms too!

Another great example of how ridiculous expectations can ruin an album for people is 10,000 Days. People didn't know how to feel about such an unusually mundane title for the band, and so it is with the music too. The evolution is clear, but apparently the direction is not what many fans were looking for. The weird, non-song tracks have been demoted to the title of "filler" tracks for some, and the actual songs are apparently not as good as they were used to from Tool. I find that neither is the case; 10,000 Days is a complex, rhythmically driven, melodic, powerful album like its predecessor, just with more emphasis on atmosphere. Some tracks are still start-to-finish rockers, like the first two tracks, but there are also pieces like the title track and "Intension" where the band opens up, stretches out and let's the atmosphere take over for a while. This is similar to tracks like "Parabol" and "Disposition," only they don't serve as intros and they have more parts to them and are more dynamic (since they are more than intros, naturally) and are extra awesome for it.

Let's look at the said "filler" tracks: "Lipan Conjuring," "Lost Keys" and "Viginti Tres." First, we have a track that's not much longer and certainly not less interesting than some of the ambient tracks on Lateralus. Second, we have an intro to the monster "Rosetta Stoned" that is rather interesting. Third, we have 5 minutes of noises, which some believe actually works with "Wings for Marie" to sync with "10,000 Days (Wings, pt. 2)." It seems like the noises work well, but I'm not convinced with the other half. Even so, what is wrong with 5 minutes of soundscapes? There's more going on here than "(-) Ions" for certain.

This album comes just under Lateralus and it is a wholly enjoyable and powerful expereince. It may not be a full-on masterpiece from beginning to end, but I'll be darned if I don't enjoy it enough to rate it as such.

Te cunosc după sandale / Că eşti fată de locale

Tool is band that has tried to be a little bizarre by experimenting with textures, sounds adding synth keys in a industrial manner and on Aenima and Lateralus, the band achieved a certain level of avant-garde music and noise emulation. Taking all these under consideration, it's safe to say that 10,000 Days is the most melodic Tool album and, therefore, the most exotic. Using typical progressive rock structures and track organization, being eclectic enough but still playing a recognisable genre, the American band releases their fourth full length album in 2006 in a time when progressive rock seemed to have some a sort of commercial revival (for some years now, record label tend to add the word progressive to the description of the a bands genre).

Songs are pretty long and feature a mixture of alternative metal and funk breached by many mellow parts marked by psychedelic atmosphere, industrial music or even tribal percussions. This means that 10,000 Days is reminiscent of post metal as these mellow parts put together last just as long as the hard rock ones. Obviously, the complexity of the album doesn't lay within the executions or the technique of the musicians (both of them are good but not crucial) but in the texture of the sounds and the production. Wings for Marie (both parts) is proof for what I've just mentioned.

As for the more classical hard rock parts of the album, in spite of the simplicity of the guitar riffs, songs like Vicarious or The Pot, in spite of their length, aren't boring mostly because of the very good dialogue between the drums and the bass which have a funky style of which I spoke about in the beginning of the review. In some ways, you might consider 10,000 days as the second part of Undertow (due to genre similarities) only this time the music is perfected. Last, but not least, the vocals are the best Tool has to offer. Thankfully, no Opiate-like screaming here.

My favourite songs are Vicarious, Jambi, The Pot, Lost Keys (Blame Hofmann) and Viginti Tres (this one being an industrial music outro)

Tool- '10,000 Days' 2 stars

As I am currently majoring in the business field, I'm giving Tool or whoever pulls the strings behind them a major applause for their unique marketing scheme. This album rating is not as bad as it seems though. If 'Aenima' got the full attention it should have gotten, then 'Lateralus' would have been seen as a disappointment. Fortunately for Tool that didn't happen and 'Lateralus' got the attention leaving '10,000 Days' to receive the flak.

You'd figure after a time span of 15 years Tool would somewhat alter their sound, but that didn't happen, yet they are still considered amazing. The grand idea of putting an album out every 5 years, creating incredible hype for each one will make money no matter what. Even if 'Chinese Democracy' and 'Death Magnetic' suck to all oblivion, they will be purchased by many.

Now, if Tool released an album every two years like most bands, their sixth or seventh would have been released by now. If that did in fact happen, Tool would have one of the shortest popularity peaks in music. Will they even get to a seventh album? Either way, fans will be attending tours constantly, as you'll be getting the usual favorite songs, since people agree on what Tool's best songs are, but have nothing to say about the other 30 tracks they made.

Such is the beautiful marketing scheme of this band. It will continue to work unless the newest album will damage their popularity, which in my opinion is very possible. Just look at how sad this record is.

Oh yeah! The music! Well, when this album was hyped up, Tool expressed that they will sound a bit like Meshuggah, ironically a band that is largely increasing their fan base. That was a complete and utter lie. This album sounds like just about anything else Tool has made, carbon copy.

'Vicarious' is the opener and the only song you'll hear about other then the title track. It sounds pretty good to me, but nothing this band hasn't done before.

'Jambi' is the track that I feel led them to the Meshuggah statement. On the level of heaviness, it does sound like Meshuggah. If 'heavy' was the only word used to describe Meshuggah would be plain wrong. Meshuggah does interesting things with time shifts and rhythm. Tool doesn't. You'll see the same pattern repeated over and over till the end. An abysmal track.

'Wings/10,000 Days' has a nice build up. These two together clocks in at 20 minutes, so get ready to be bored relatively fast. Can Tool write an interesting track in 5 minutes? Why bother.

'The Pot' has the best work of Maynard by far. This might have been my favorite track, as the bass has a lot of punch to it. The guitar gets a little interesting too.

'Lipan'. Filling. Skip.

'Lost Keys' is a dialogue about a man the wandered into the hospital. Ironically, I like this track the most.

'Rosetta Stoned'. My god, this band needs to stop playing music. Once you hear the intro, it will largely remain the same, tossing in a little bit of Adam Jones playing a note, twisted into oblivion by effects. A lame song yet again.

I simply cannot write anymore, on the next three expect a small idea turned into a rather lengthy song and a six minute filler for an ending song.

5 years, 15 minutes of filler still. If I had a whole year to write 10 minutes of music, I think I can make it pretty big myself. Tool really knows how to make money off of people.

So what to think of this album and my sum of reviewing all the Tool albums? I think Opiate deserves to be in the top spot.

For the studio albums, take three pieces of paper and write 'Aenima', 'Lateralus' and '10,000 Days'. Puts these pieces into a hat and shake it. Pull one out and get it. Chances are you might like it. Expect to be disappointed by the next two that you hear. It will be mostly the same. This band might fit, although not in my opinion, as a progressive rock band. The band, however, is not 'progressive'.

Tool...the last three releases could do no wrong. This one digs Tool even deeper into Prog Metal and I consider them to be the leaders in that genre. Start to finish, this album grinds at the love for deep, dark, and intricate music, which comes from three instrumentalists and a singer. Once again, Tool's music fills my speakers readily, spewing fantastic chops and intense melodies. I have to say the real standout is drummer Danny Carey. What a great sense of the odd, and changing, meter. Few drummers can be so fluid. Of course, the tonal textures of Adam Jones should not be over-looked. That is something I have come to love about Tool's music.

This album is a MUST HAVE.

I remember the first time I listened to this album like it was yesterday. I had just finished listening to Tool's entire discography, in chronological order from Opiate to Lateralus. I liked Tool by this point, but wasn't necessarily their biggest fan. Then, 10,000 Days came along. I didn't like it, didn't think it was anything special. I thought Vicarious was kind of catchy and cool, but other than that, I thought it just didn't live up to Lateralus. It took me a few times of listening through this album to realize that it is an absolute masterpiece that I think everyone should hear. The lyrics are above and beyond the best in Maynard's career with Tool, especially on Vicarious and Right in Two, which is probably my favorite song by the group. The only song on this entire album that I don't listen to over and over again is Jambi because it can get a little repetitive, but I can't not acknowledge the amazing talent of Danny Carey on this track or the weird rhythm of the riff itself. The high point of this album is definitely the Wings for Marie suite; it is just so masterfully constructed. After 10,000 Days comes probably the most accessible track on the album, The Pot, which completely turns the album in a new direction. Other high points include the mysterious build-up of Lost Keys (Blame Hoffmann) and the industrial Intension. This record has to be listened to as a whole to understand the strange, religious trip that it is. After countless replays of this album, I can honestly say that it is one of the most intelligently constructed albums that I have ever heard. Justin Chancellor and Danny Carey make one of the greatest, most unique rhythm sections of all time. Tool is a band that sounds like no one else, and no one else sounds like Tool. I recommend this album to anyone with whom I discuss music.

TOOL is comparable to religion. They have a vast and loyal following, some of which are not right in the head. They also have an army of opposers...the Anti-TOOL. I don't think I would go as far as to say they were compositional geniuses, but they are indeed clever. Most of the TOOL hatred seems to come from the fact that many of their songs are drawn out, or that they aren't really all that progressive as they're made out to be. I agree with both stances, but I still love this band. Their longer songs are in the vain of doom metal, but unlike doom metal they have a ferocious intensity that meets an end. They are the kings of stoner-metal, and they should be proud to wear the crown.

10,000 Days: At first listen, this album seemed to lack the overall aggression from the previous 2 (Aenima & Lateralus), which would prove to be tough to follow. After several listens on the ol' iPod it began to grow on me, as good music should. Personally, I never cared much for lyrics... as long as the singer complemented the band I couldn't give a hoot about their 'message'. With Keenan, I always listen. Many of his songs through the years have to do with how dismal society is becoming, but he complains humorously. He has a great and unique voice, and always paints a disturbing picture with his lyrics. This album is the usual TOOL, but the title track takes it a hair deeper.

Vicarious is a good opening track, strong and accessible. Sounds like many a TOOL song, but with introspective lyrics concerning our lust for witnessing tragedy from afar. Jambi is another strong and accessible TOOL song, but too similar to Vicarious to follow it. Nice wavy bass though. Now it gets a bit more emotional... Wings for Marie and 10,000 Days are essentially one song (I believe about the death of Keenan's mother) that builds and builds and builds for 15 minutes. This is by far the most powerful song TOOL has ever released. I find myself overwhelmed every time I listen to it with the headphones on. The Pot is a great track about the hypocrisy of the drug war and the government fighting it (I think), and although it sounds like TOOL, it is Keenan's most unique vocal performance to date. The next track, Lipan Conjuring, is seen by many as senseless filler, but I think it's a great intermission. The album is better with it than without. The next 2 tracks again combine to form one long song, and easily one of the most disturbing. Lost Keys starts off the story with a nurse and doctor exchanging dialogue about an unidentified patient, and then Roseta Stoned begins with the patient's psychotic ramblings about alien abduction and the like. It is very easy to picture a deranged mental patient schitzing out when listening to this song. Intension is a trippy and mellow track, perfect to calm the mood after Roseta. Right In Two is the last 'song' on the album, and although good, is similar sounding to Intension. Right In Two does build towards something a little more complex, but is not a good closer. The last track, Viginti Tres, combined with Wings For Marie equals the exact time of 10,000 days. I've not tried it, but apparently the intention is to play them simultaneously. This can be the only purpose of Viginti Tres, for it is just noise.

This album is fantastic in many ways, but not quite as good as the previous 2. Most critics think the worst thing about TOOL is that they always sound like TOOL. I think this is their best quality. Very few bands can claim to have their own sound. Progressive? a little bit. Awesome? always.

3.99 stars

Tool - 10 000 Days (review#2)

1. Vicarious - Good, strong piece, but somehow repeats the concepts already known from 'Schizm' and to a lesser extent from 'Stinkfist'. Kicks off the album with power. The lyrics are somehow atypical for MJK (more down to earth), touching the topic of 'blood call' in human's society. 4,5/5

2. Jambi - Weird rhythms of guitar and drums (somehow reminds me of King Crimson's 'Discipline' album, but is certainly much heavier) throughout the piece complemented by interesting vocals (whispering, hissing etc.). There is an effect-driven solo (Jones uses vocoder in this one?), but is too much on the front line for my taste. 3,5/5

3. Wings For Marie (Pt 1) - The first part of an honour-song to MJK's mother (who was being paralyzed for approximately 10 000 days). It's a bitter manifest to God in my opinion, as it states that even if mrs. Keenan was a passionate Catholic it didn't save her from torture and it was unfair from his side. Maybe she will be rewarded in heaven, but who is 100% certain? 4/5

4. 10,000 Days (Wings Pt 2) - Continuation of the epic, more interesting musically, with an incredible bass line (just hear it throughout the song). The emotions and anxiety seem to grow and erupt with force. 5/5

5. The Pot - Angry-driven track, reminds me of 'Hooker with a Penis' and pieces from the 'Opiate' EP. Nice rock track, catchy and well-played, but we've heard that before. 2,5/5

6. Lipan Conjuring - A humorous track preseting an Indian meditaion. We've heard tracks like that before. (No rating)

7. Lost Keys (Blame Hofmann) - An introduction to Rosetta. A patient (probably highly stoned ;]) is brought to the doctor. At first he refuses to speak but suddenly... (Not rated)

8. Rosetta Stoned - ...he throws out all his thoughts like a machine gun stating that he has been captured by aliens. Cool track, full of humour, nice pace changes and riffs, a little bit too long though. Sometimes seems like assembled randomly from different ideas. On the other hand the lyrics are hilarious. 4/5

9. Intension - An ambient track (somehow similar to 'Disposition' from their previous work). Danny Carrey uses an interesting style of drumming (is it an electronic percussion here?). 3,5/5

10. Right In Two - The beginning is fantastic, again touches the topic of God (as a creator this time). The chorus is somehow weak, I think that the piece is underdone in a way. 4/5

11. Viginti Tres - Essentially only a noise, some say that if you put it as backgroud to '10 000 Days' it will make a whole along with 'Wings for Marie'. Interesting, but what for? (Not rated)

The album is excellent in moments, but very uneven and as I wrote many concepts had been used before, there is lack of new ideas. I perceive it as a step backwards from the splendid 'Lateralus'. I still don't know if it was worth waiting 6 years for the album to come out (some say 'no', some say 'sure').

Overall rating: 3,86/5 (I counted tracks #6, #7, #11 as non-existent) - it's 4 stars for me

'10,000 Days' - Tool (6.5/10)

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.

Tool is a great band. They have tons of rabid, loyal fans who love pretty much anything they do. After Lateralus, they anticipated another killer album on the same high masterpiece level. This is possibly why there is so much dissapointment for this album. Many say it sucks, many think it's the worst piece of music ever. Although it's not a masterpiece, this album is still excellent music.

Compared to their other atmospheric and experimental alternative metal work 10,000 Days is probably the heaviest and most rhythmically complex. It lacks the slow atmospherics of Ænima and it doesn't have the intricate song structures of Lateralus, but it makes up for it in some great heavy and groovy riffs. "Jambi" and "The Pot" have a killer groove and bring out the rhythm section of the band a bit, along with sections in "Rosetta Stoned", and the other songs tend to focus on percussion and bass quite a bit.

Of course, part of what brings this album down is the experimentation. Ænima had plenty of experiments, but they were just short tracks which if analyzed closely, actually brought out some of the meaning of the album. However, there are experiments in 10,000 Days that simply don't work. "Lipan Conjuring" is one of Tool's 'filler' tracks that do not add atmosphere or anything to the album, and is simply a short native american chant. "Intension" contains a bridge section with an electronic percussion break. Although it sounds cool, it sounds closer to what could be a B-side on a single. And finally, the album closes with "Viginti Tres" which is put on the album and meant only to be synched with "10,000 Days (Wings Pt. 2)" to add atmosphere. It is mostly just strange background noise, akin to "(-) Ions" but without any interesting headphone tricks.

However, there is far more good music that outweighs the bad. "Vicarious" and "Jambi" open up the album energetically, and the latter is quite a journey of interesting rhythms and a killer talk box solo. The centerpiece of the album has to be the two parts of "Wings for Marie", which is a tribute to Maynard James Keenan's mother. "Wings" begins atmospherically and hauntingly. As the second part moves on, it builds slowly and subtlely, gaining dynamics and energy until it explodes. "Lost Keys" paired with "Rosetta Stoned" is a killer musical project, with some of the most complex rhythms Tool has ever utilized and killer atmospherics, including some emotional singing despite the somewhat banal topic of an alien encounter. And the last real song on the album, "Right In Two" is an excellent heavy, brooding song with a strong commentary on the state of man and society.

Tool fans, despite what some say, this album is essential. Other prog fans may want to be a bit more cautious, but if they enjoy Tool's other work, then this should be another great album for them to have. A dissapointment compared to past efforts, but still an excellent album.

After 5 years of waiting since their last release, the illustrious "Lateralus" regarded by so many as the pinnacle of modern music, "10,000 Days" was finally released. Tool fans everywhere raved about it from the start, I remember my writing professor, (a hard core fan) talking about it endlessly and had 3 copies, (to listen at home, in the car, and at school). This is no surprise, as Tool, (just like System of a Down) is a "different" band in today's world of mainstream, pop radio and lack of...well any good bands. That being said, what did I think of "10,000 Days"? Well, I usually struggle to think of one word to describe a Tool album, but I have one word for this release: Disappointment.

I was just getting into Tool when this album was released, so I was able to let them grow on me without the fanfare. When I finally did really sit down and listen to this album, I was disappointed. As mentioned earlier, I am a Tool "outsider" so I had no extreme hype for this album, am not disappointed in comparison to "Lateralus" the fact is, a lot of this album is boring. Just flat out boring. Even after a lot of deep listening, the album has not grown on me.

The album actually starts out strong. Vicarious is a great song. The next song, Jambi, is my favorite on the album. Mostly in 9/8 time the song begins with a heavy little guitar riff and some cool drumming, and of course some sweet bass. A really cool song, I love listening to it and the solo blows my mind. It takes me to another place when I hear it.

After such a strong start this albums then comes to a screeching halt. This is not just a metaphor but how it feels. The next 17 minutes of songs felt like 17 hours. Some parts in 10,000 Days were good, but overall I can not make it through those 2 songs.

The Pot is not a bad song. Not one of my favorites, but good. Also, in classic Tool fashion we have some multiple meaning lyrics. To many, the song is probably literal...but we know better.

Now, onto the reason to love/hate Tool. Lipan Conjuring is one of their famous transition pieces. While these can be great, they can also be god awful. This one is not bad, although it is really "filler" and not a transition. There is no "music" it is mostly droning chants and tribal sounds. It is kind of cool sounding.

While the prior song was more a "filler" Lost Keys (Blame Hoffman) is actually a transition piece. It is entirely composed of a really long, kind of anxious, sound with some gentle guitar in the background. It is very chill. Near the end we hear a conversation between a nurse and a doctor. This guy has walked into a hospital, real messed up, and no one has any idea what is wrong with him. Judging by the title, (referencing Albert Hofmann presumably) we can deduce the patient is on acid and stumbled in here. Hence....blame Hofmann. The piece ends with the beginning of the next song Rosetta Stoned, (another indicator of a drug reference?)

At first I did not like it at all. However, it did grow on me. The music is pretty minimal, and the lyrics are said through some heavy effects, and in a very chaotic manner and describe a guy totally tripping on DMT. There is some humor in here, and I like how it ends, (don't want to give it away though of course!). Despite everything I thought about Tool, I am starting to wonder if some songs are not so much about humor but have an "anti-drug" sentiment. But that's Tool for you, except for those 4 who really knows what they mean.

OH! Random side note, I just realized this moment that it all makes sense if you think about Rosetta Stoned first, THEN Lost Keys.....anywho.

Intension is another song that goes on way too long. It sounds cool at first, very nice and mellow and there is some really great drumming. However, it is a bit slow feeling after a while. I CAN make it through the song, so it could be worse, but it could be better.

Right in Two deals with God. Why did God give us free will? After all, we just use it to fight over everything, and EVERYTHING. Why would God give us thumbs just so we can make clubs to beat people? All our intelligence bestowed by God, just so we can fight over pieces of land. Why can't we just cut the whole f*cking thing in two? If only....

At first I found the song boring, until I really listened to it. The lyrics really did make it worth it. The music is not bad, and again there are some really chill parts with some cool drumming.

The album ends with Viginti Tres. This piece is nothing but noise. Literally. What a strange way to end the album! It was then I thought, this sounds just like Tool filler, but why have filler at the end of and album? Then it really hit me. "DAMN! This is another album where we have to listen to the song not in order!" I am almost positive that listening to Viginti Tres before, or after some other song will make it a transition piece, and will blend nicely...but I do not care to figure it out.

In fact, SUPPOSEDLY the pictures of the band members can be used as pieces in a puzzle of some kind. I know, this is Tool and part of what they do but I am getting a little tired of it.

Back on track. What to say a bout this album? It is alright. Vicarious and Jambi are great. The Pot and Right in Two are good. Rosetta Stone is......decent enough but too drawn out. There is too much "filler" although this is nothing new, and sections of there songs are boring. Not to mention the 2 Wings for Marie pieces which are just entirely boring.

I will admit, the art work is amazing. Although it does add to the pretentiousness of Tool, I really like it. However, as I have said before my ratings are based on the music solely, nothing else.

In conclusion, disappointment. Some good stuff, but a lot of slow and boring. The album, overall, is very minimal which is not quite my thing. Maybe Tool went for atmosphere over musical talent? I hope so, because talent they have and it is not really heard here, especially in the Carey's drumming, which is again disappointing. A lot of the vocals are through effects or just difficult. Again I am sure this is part of it all, but it really is getting a bit old. Maybe that's the overall problem. Maybe Tool is reaching that sad, but usually inevitable, point where they need to hang it up.

Either that or, (and this is what many of us fear most) they do not really care anymore. Just like Metallica, System of a Down, Dream Theater (to name a few) this album WAS going to sell. Period. So are they experimenting? Challenging the fans? Just putting out whatever and cashing in on the money? Are they really artsy or just pretentious? All that is side talk I suppose. Overall this album is meh. Some good songs, some good parts, a lot of slow and boring. It feels 10,000 days long.

Three Stars

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. The Psychedelic "Rosetta Stoned" for example is not one of the band's best I think.

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 digipack 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.

This album really is not as bad as tool fans say it is, just because its not a fantastic album to listen to all the way through doesnt mean its not worth a listen. I mean its true some tracks arnt very interesting but the album does compensate for them with songs like "wings of marie", "jambi" and "vicarious". overall i can understand where people are coming from when they say they like tool but not 10,000 days, but you just have to try to look at the pros not the cons. I mean the time signatures are as strange as ever. The vocals seem alot more controlled and somber than aggresive but how is that a bad thing, its just new. for me personally i like it, but i hope there next record is a bit more listenable as a whole

After a long five year wait, which felt like forever, I finally got what I've been waiting for, namely another great Tool album!

I bought the album the first day it was released and was once again met with an intricate album design which featured build-in stereoscopic eyeglasses. The glasses were there to be able to view the album's inside artwork which was a nice little bonus although now it's kind of in the way since the album can't fit into a regular CD-case. Now that we've got that out of the way let's talk about the album!

Tool has always been pushing forward with every new release and 10,000 Days is no exception since it's anything but just another Tool-album. This time it's the two Wings-tracks that add a new dimension to the band's already well established sound and they are the definite highlights of this album.

One thing that has become somewhat of a must on a Tool release are the interludes or what most of us call filler tracks. Those tracks haven't really worked for me since Ænima and this album's fillers really bore me which brings down the overall experience of this great release.

Still 10,000 Days is anything but a bad album since it held up quite well over the past few years. If anything, this record has so far received a lot more time in my CD-player than Lateralus and I still enjoy listening to it from time to time!

***** star songs: Vicarious (7:08) Wings For Marie (Pt 1) (6:13) 10,000 Days (Wings Pt 2) (11:15)

**** star songs: Jambi (7:30) The Pot (6:24) Rosetta Stoned (11:13) Right In Two (8:57)

*** star songs: Lipan Conjuring (1:13) Lost Keys (Blame Hofmann) (3:48) Intension (7:23) Viginti Tres (5:02)

10.000 days ago I wouldn't have been able to appreciate Tool

While some of you may know that I'm not a metal fan, I've always enjoyed pretty heavy stuff, one of my first loves being the Alt. Rock/Grunge genre with bands like Alice in Chains and Soundgarden featuring lots of heavy distorted riffing and a bit of aggressivity from the vocalists but never going too far and sounding like thrash metal bands which I'm not able of digesting at all, despite repeated attempts.

Well, Tool with 10.000 Days combines the aggressivity and style of grunge(alt. rock if you want) with the complexity and experimentation of bands such as Wetton-era King Crimson. Any metal fan will have no doubt about their metal-credentials since Adam Jones does a massive job with his guitar employing some gut-ripping riffage but also alterning to atmospheric bits for a more dynamic sound. The rhythm section couldn't be better, compromised by Justin Chancellor and Danny Carey, both really are fundamental to Tool's original sound, they add a lot of power to the band that bands like Metallica lack, but that's just a useless comment coming from a non-metal fan.

As for the vocals, Maynard James Keenan is also responsible for Tool's originality and distinction from the rest. He can be very delicate as well as emotionally agressive with his singing, giving as well a more dynamic feel to the band unlike various other metal bands which have singers that either only growl or, on the contrary, ''sing'' in the altitudes of the sky(extremely high-pitched) which makes those band in that aspect monotonous.

When it comes to the Progressive bit of the band, the main factor is the use of very complex time signatures which as a contrast to the technical bit of the band, Tool swifts a lot from totally relentless bits to echoey and dark moods which has Maynard's delicacy.

However, don't get me wrong, I'm not saying that Tool are pioneers or innovators from the metal genre, what I'm saying is that they're indeed a distinctive Prog Metal band unlike those who follow Dream Theater's footsteps, that with 10.000 Days and Lateralus have made me, a non-metal follower, a fan.

4 stars: If only it were a tad bit shorter this would have been a masterpiece, I can assure you. Recommended to fans of Prog Metal that have yet to seek other than Dream Theater-inspired bands. Also recommended to Prog fans that like Grunge.

10.000 Days is only the 4th Tool album in 15 years. It makes them even less prolific then Anekdoten who managed to churn out at least one more album over a similar period of time. But Tool make up for it by releasing a really long album again. And for the first time in their carreer they have me on board. And how!

Tool hasn't changed all that much compared to the previous album, but somehow they finally achieved to capture their live energy on a studio recording. The opening Vicarious sounds like someone set the band on fire. It's dark, urgent and poignant, even Maynard fully convinces me now. He has just a tad more melody in his rhythmic recitative. The band also perfected their compositional skills. While very similar to Lateralus, it's strikingly more varied. The songs ebb and flow nicely through various motions.

Maybe it's just due to an extra sparkle of inspiration and bite, but Tool sound ablaze on this album, Jambi continues to deliver on the genius that I had heard in Tool 15 years earlier during one of their early live concerts. They sweep me off my feet here. A few outbursts aside, Wings for Marie is the first quite moment on the album. Tool manages the dynamics between soft and loud very adequately now. 10.000 Days gradually builds up out of brooding guitar chords. The Pot continues with a catchy funk vibe. Not unlike Rage Against The Machine this one. Lipan Conjuring is a pagan chant that I'm sure I've heard somewhere before.

We're 40 minutes in by now and when Lost Keys begins, it's like the intro of a second album is starting, and I actually tend to play both halves in separate sittings. The first half if I want rock, the second if I want to dream away with the music. Rosetta Stoned is one of those Tool tracks where I can just sit and listen to the drums and the bass. Great playing abound. Intension is more brooding and post-rock oriented. Right In Two has a powerful emotional drive. Again Maynard puzzles me, did he take singing lessons or a course in writing memorable vocal melodies? What an improvement over the preceding albums. Everything ends with the nihilistic white noise of Virginti Tres. It's the type of track added at the end to make sure you don't shuffle the intended running order.

Seems like Tool continues to sound better with every album. If they continue at this pace (an album every 5 years) they will eventually release the most astounding rock album ever. Probably by the time they retire. Until that happens, this sure is a 4.5 star album for me.

A solid follow-up to their best

Is it a good album? Yes, it is good. Is it as good as Lateralus? No, not at all. The absolutely stunning art inside the album led me to believe that this could be another masterpiece. While not a masterpiece, it is still worth the buy.

A description of the music: "Vicarious" starts the album off in the vein of Lateralus, with Maynard pulling off some great vocal work and Jones showing off some fantastic riffs. "Jambi" has more great riffs from Jones but gets repetitive and is a bit slower than "Vicarious." It also features a talk-box solo about 6 minutes in. The epic of the album then comes in as "Wings For Marie Part 1" starts quietly, then a great clean riff comes in. This song is incredibly slow, very quiet, and Maynard is singing with great emotion as it sounds like he's lost all hope. "10 000 Days (Wings Part 2)" starts out with one of the greatest basslines I've heard and more very quiet singing by Maynard. The song eventually rises to a climactic solo from Jones. After a loud riff, the song descends back to quiet, slow, emotional singing and fades to an end. "The Pot" features some groovy bass work but has a really poppy sound to it. "Lipan Conjuring" is about a minute of what seems to be a native tribe chanting.

"Lost Keys (Blame Hoffman)" is a high-pitched noise with some talking in the background and is sort of a prelude to the next track. "Rosetta Stoned" is the heaviest and loudest track on the album and maybe in Tools discosgraphy. This song contains some pretty awful lyrics though and Maynard sounds absolutely nothing like himself. "Intension" has pretty repetitive verses, but great basswork and awe-inspiring drumming. "Right in Two" contains an odd sounding acoustic riff in the verses and a much louder chorus. The lyrics here are very strong. "Viginti Tres" is just 5 minutes of sounds to end the album.

PROS:

Lyrics: Aside from "Rosetta Stoned," the lyrics in this album are very strong. The "Wings For Marie" suite contains some very heartfelt, yet not cheesy at all lyrics for Keenan's mother. "Right In Two" compares humans to monkeys in a war sense.

Vocals: Maynard is very diverse with his voice and shows it off in this album. He screams, whispers, yells, and sings all masterfully in this album.

Drumming: Danny Carey has some of the most unique sounding drum solos you're ever hear in "Intension" and "Right In Two." He also has some great beats throughout the entire album.

CONS:

Filler Tracks: "Lipan Conjuring," "Lost Keys (Blame Hoffman)," and "Viginti Tres" are all rather meaningless tracks which I don't see the point of. Most people when they make tracks like these, they at least make them somewhat appealing, but here they are rather annoying.

Slightly mainstream: In some tracks, they use the simple verse-chorus-verse-chorus structure and in tracks like "The Pot," the sound is almost completely mainstream.

Boring: Sometimes, listening to the album as a whole can be a bore. Song like "Jambi" and "Intension" get quite repetitive (though the drum solo in Intension makes up in a way). The filler tracks also are annoying.

Song ratings: Vicarious: 8.5/10 Jambi: 6.5/10 Wings For Marie: 10/10 10 000 Days: 10/10 The Pot: 6/10 Lipan Conjuring: N/A Lost Keys: N/A Rosetta Stoned: 6.5/10 Intension: 7.5/10 Right In Two: 10/10 Viginti Tres: N/A

Recommended For: Mainstream metal fans. People who like sound effects and ambient tracks. People looking for a darker sound. People looking for a bit of oddness in their metal.

My rating: 3 stars. I was going to make it 4, but as I was writing the review I decided on 3.

when i first heard vicarious i was excited to hear the rest of the album so i went out bought and bought expecting something even betetr than lateralus i was very disapointed while vicarious and wings for marie Pt.1 and 10,000 Days are 10/10 for sure teh rest of teh album is somewhat lacking what lateralus had they have 3 great tracks a couple really solid tracks (The Pot and Right in Two but Tool having FILLER it was very shocking to me and i was very disapointed with the album

Music rating 2/5

artwork was amazing some of the best if not the best the glasses that came built into the case was rather ingenious and pretty cool the actual artwork was GREAT just outstanding

Case Rating 5/5

all in all a disapointment but still a solid album by tool i would say it was on the same level with undetow while good not great

3/5 stars

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 very much. 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 ambience.

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 cold. 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-rock work. But still, it is not as good as previous Tool's release.

The aforementioned title track is kind of novelty in Tools music, mostly because of an ambience. 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, simply because I don't like it in other members reviews. 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. 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 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.

Trim the Fat and you've got a Great album.

Well, I never thought I'd see the day where I would have to eliminate 20 minutes off a Tool album just to make it listenable. I've listened to Undertow, AEnima, and Lateralus at least 50 times, where as I listened to 10,000 days maybe twice in 5 years. I never really thought about until now. The sad truth is that this album is bloated with a lot of unnecessary filler. There are 3-4 dead spots on this album where you lose all momentum and I actually feel bored. The first dead spot is the 11 minute title track 10,000 days (wings part 2). The previous track, Wings part 1 was already a slow song, which I don't mind in the least as its actually pretty decent, but to follow it up with another very slow and drawn out 11 minute song is a huge mistake and is a massive hurtle to get over. At this point this is usually where I turn off the album out of shear boredom. The next deadspot is the god-awful Lipan Conjuring. Need I really say anymore about this track, its just a waste. Lost keys just drags when really I just want the album to flow. Right in Two is really a flawed gem as it builds so well over 3 minute period and then totally blows the climax with "Cut it right in two" repetition. This portion of the song is to dissonant and doesn't flow with the beauty of the rest of the song. We conclude with the irrelevant waste of the time Viginti Tres. Seriously, does anybody actually listen to this. Between undertow's disgustipated, Lateralus's Faaip De Oaid and Viginiti tres I don't know which is worse. They waste 10 minutes of disk space on noise which I will never listen too. If it wasn't for Bill Hick, I wouldn't listed to Third Eye Either and usually turn off AEnima after the title track, but whatever.

In its original form, the album is a failure and yes it pains me to say that but the truth is that I had no desire to listen to this album and that is failure. with the fat trimmed It deserves a 3 out of 5.

When I first got this CD, that's all I had, a CD and CD player and I hated skipping tracks, I just want to put on the CD and let it play, but now today I can just uncheck songs I don't won't on my Ipod and like magic, they are gone.

So I removed

10,000 days Wings part 2 Lipan Conjuring Lost Keys Vinginti Tres

and thus this bloated hour and a half beast is cut down to a more manageable 52 minutes, which I now regularly listen to. Problem solved.

Tool Finally Gets It Right

I have a bad habit of liking the album that follows the critic's favorite, which usually is a "maturing" of the band's sound. I loved Type O Negative's October Rust which felt like a consolidation of the band's sound after their uneven popular hit Bloody Kisses. Similarly, Tool's albums were always extremely unever affairs for me. Frankly, I rarely finished the entire disc with Aenima or Lateralus despite the fact that each had some great tracks. I never liked Adam Jones' minimalistic guitar style, and Maynard's pseudo-avant interludes did nothing for me.

Like many, I got 10,000 Days very uncertain what I was getting. The lead song (and single) "Vicarious" was clearly recycled ideas, but promisingly with a much better guitar sound. But starting with the quick riff that ends the song, the album just takes it up a notch and I remember just listening to the disc with giddy glee for the first time. It was one of those albums that got me calling my metalhead friends to check out. It just seemed like the band had finally broken through and created an entire album showcasing the brilliance that I'd seen only in moments before. One of the biggest shocks I when coming to Prog Archives was discovering that the general opinion seemed to be that this album was poor while Lateralus, which mostly bored me, was seen as an absolute masterpiece.

The guitars contribute more 10,000 Days than any other album in Tool's catalog. On "Wings for Marie" the bass and guitar actually play interlocking lines that compliment each other, rather than Jones simply following along. The distortion is fuller, more colorful, and the overall mix benefits substantially. At the same time, the whole band seems to be embracing a more textured sound with Maynard contributing multiple layers and effects being used with clear interaction with the parts of the song. The lyrics are the most personal of Keenan's career, dealing mainly with the illness and death of his mother. While retaining the emotional intensity of earlier angry and depraved outbursts, he now displays a more mature range of emotion. As such the Wings for Marie Suite is one of his best performances ever.

There are clear singles on this album, and some are better than others. "Jambi" is great, relying on a monster gallop rhythm. "The Pot" clearly preaches to the Tool choir, but its spine twisting rhythm is so much better than 90% of prog metal that utilizes odd time signature as a math exercise rather than a real vehicle of musical expression. As stated, "Vicarious" is stock Tool, but doesn't really grab me.

Unlike earlier albums, the interludes make much more sense. Instead of feeling random and grasping at intentional wierdness, there is a sense of spiritual exploration. "Intention" combines a harmonic chant with a polyrhythmic feast from drummer Danny Carey and bassist Justin Chancellor. "Lipan Conjuring" is a faux Native American chant that flirts with being too pretentious but works because of its brevity. "Blame Hofmann" is basically a feedback solo that gets a little tiresome but its whole point is evoking the feeling of being locked within one's own body in a sickbed. The transition into the schizophrenic "Rosetta Stoned" reminds us that Tool were once masters of evoking madness and frenzy. The combo of the two songs is over fifteen minutes long, and probably could have gotten its work done in less than 10. "Right in Two" features one of Maynard's worst, preachy lyrics over a solid but typical Tool groove.

Because of the somewhat weak ending, 10,000 Days misses masterpiece level in my mind now. But it's still clearly the most accessible Tool album in retrospect. It's also the most complex harmonically and retains the rhythmic adventure that is key to the band's sound. I think it's overall rating is artificially low due to fans that had embraced Lateralus getting something different than they were looking for. But for a newcomer to the band, I would actually recommend this one first.

People have mentioned that there are a lot of fillers on this albums--this is true, but the album itself is 75 minutes long, and full of invention. This album didn't get a 3.7-- because it deserved it; it's rated this low because people (in this site) hate creativity and commercial success. Now Mars Volta's "Frances the Mute" is a masterpiece and is rated pretty high, but has much more filler and noise than "10,000 Days". Are you telling me that you rated it low for that reason alone, or did you not rate Frances the Mute? Some of my favorite bands are Genesis, King Crimson, Radiohead, Mars Volta, Yes, Anglagard... Tool is just as adventurous and talented as those bands. Wait a second! Court of the Crimson King... 8 minutes of bleeps on Moonchild... (one of my favorite albums) rated at 4.5-- now... it just doesn't make sense. Originally, I gave this album a 4.5, but since people have done this unjustice... and 4.5 rounds to 5.

This album is for fans of adventurous music. A modern day Lark's Tongue in Aspic...

The Tool sound with more spice

I remember describing the previous album "Lateralus" as the soundtrack to a shark attack scene, with the brooding and tension filled tracks suddenly exploding like a shark hitting an unsuspecting victim as the full Tool sound kicked in. On this, their long awaited follow-up, there are subtle changes despite many Tool fans complaining that the album was a lame redux or others who feel "all Tool sounds the same." Here the album feels more variable in intensity and force. Where "Lateralus" was consistent power and heaviness, on "Days" the band mixes things up and explores a more introspective psych-metal landscape. The four key sound elements are often featured individually or in tandem pair as opposed to being consistently clubbing the listener to death with their combined fury and firepower. It's still Tool and it still often resembles "Lateralus" but there is more diversity for better or worse. Another issue is that the periodic interludes of quiet, reflective space or tribal percussion and chant, which interrupts the flow of heaviness I seek from a Tool album. In some sense the variable is cool, but personally when I want the experience of being bludgeoned the other stuff kinda foils the flow. If I want the spacey psych thing I can turn to numerous other bands for a more thorough experience in that kind of music. "10,000 Days" is a good album and I enjoy it but I would certainly recommend "Lateralus" be acquired first. And John is right, the bottom end on a good system is formidable.

"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.

To skip over LATERALUS straight to 10,000 DAYS was a risk for me considering the ratings of the two albums. I loved plenty of songs from the other Tool album I've heard so far (AENIMA), yet I felt the album as a whole was patchy and too fillery. So, judging from a first-glance look at the tracks, it seems as if most filler is filtered out.

''Lipan Conjuring'' and ''Lost Keys'' actually work at creating beautiful atmospheres instead of sounding like throwaways meant to pad the length of the album. ''Lost Keys'' actually sounds like a song Tool would normally write. In contrast, we never needed ''Viginti Trees''; it's a noise piece at the end of the album that is simply a time-waster. I'm used to this technique from Sleepytime Gorilla Museum, but it's still unnecessary no matter what artist tries it.

The rest of the tunes are Tool tunes as you would expect had you heard any Tool songs before this. Even with only one album of experience, the parallels are astonishing (good and bad). I swear ''Right in Two'' is a rewrite of ''Jimmy'' with one beat added to it even if I really enjoy ''Right in Two''. ''Vicarious'' and ''Rosetta Stoned'' are two other good tracks I swear I've heard before also. I get this innate sense throughout the whole album.

That is until we have the ''Wings for Marie'' segment. It's a very haunting, building, brooding piece that relies very much on the psychedelic part of Tool's sound much more so than the metal, though outbursts come and go. Everything about this epic just seems right to me, and add that to Maynard Keenan's most moving vocal performance to date (I believe he wrote the tune as a tribute to his mother; the emotion shows). ''Intension'' has similarly good soundscapes to it, but not quite up to the epic's standards.

I can understand the agony of many Tool fans back in 2006 that felt like they were served the same burger and fries over again. If Tool worked new sounds into their own, I honestly can't detect any of them. So, I will say that 10,000 DAYS is a lot like AENIMA; it has its own unique sound with plenty of great moments, but this time instead of too much filler, there's too much déjà vu.

this is going to be an odd review for me to write becaus i am just coming accross this album in 2011; i was a tool fan through my youth then my interest sort of cooled yet i always appreciated the music and its brilliance....so stumbling upon this one day was quite an experience. like many reviews above at first listen i was unimpressed and felt my lack of interest in the band for the past 6 years was jutsified...then i decided to spin it a second time and third and so forth...i dislike comparing albums to previous ones (lateralus) but i must say this is not a step back or musicialy stale or empty even compared with the glorious lateralus, at first i was disapointed maynard was'nt screaming and angry as hell but then i came to the realisation that as artists they evolve and if you want screaming and anger go to the previous albums..if they would have tried to make a duplicate of lateralus they would have been slammed by critics saying they were unimaginative..and here they deliver something in the tool style yet very new and very beautifull and still get slammed...it was a lose lose following lateralus befor the vinyl hit the press...i think taken as a whole disregarding the bands past accomplishments it is a great success and taken with their past albums in mind i still feel strongly this is a step forward in they development...more polished(i must admit i love tool for nasty songs like ticks and leeches so this is saying alot)...i feel if pppl would actualy sit down take the tool blinders off and of course listen through high quality headphones everyone who is a tool fan will love this album i give it a 4 out of 5

I do not understand why Aenima is ranked much higher than this album. Aenima is an essential, amazing album not just in prog but in the music scene in general; however, this album is a lot more "progressive" so I do not understand why it is ranked lower here. On top of that, I find it more enjoyable, much more melodic, more mature and still very fun. I give it a 4.5 rounding off to five stars because it's the best of Lateralus meeting the best of Aenima, although there are definitely a few small flaws.

We begin with Vicarious, which starts with a psychedelic opening, and then we are assured a bit later that this is classic Tool. Danny totally murders the drums as usual, with grace and power. The bass is prominent and marvelous, it really gets in you. And of course the "riffage" is powerful and fun. The vocal melodies are beautiful and help deliver the great message in the lyrics, also providing a nice contrast with the heaviness of the track. This is solid, great, and even somewhat poppy Tool, even though the majority of the song is in 5/4. Enjoy the explosive ending.

The next track is even better, with some fun wordplay. The lyrics are beautiful and there is no singer who can do them justice like Maynard. This track uses cross time-signatures and it sounds great. There are some great abrupt changes, like when the bass takes over about a minute in, after an insane drum fill. It goes from really heavy to psychedelic and beautiful. Check out that awesome, unique guitar solo.

Now comes the 17 minute epic, which offers some great variety after two classic, poppy Tool tracks. This is the most personal Tool ever gets. Maynard writes his best lyrics, and the music is somewhat upbeat and depressing, sad yet slightly uplifting. It starts with a kinda slow, ambient prologue, Wings for Marie, and then segues into 10,000 Days. The guitar solo with the faster 12/8 bass section during the last five minutes of this track could go on forever...that's how moving and beautiful this music is. Almost remniscient of Pink Floyd, just heavier.

And then something completely different, which is why this album is a masterpiece: a lot of variety, the best Tool has ever offered us. The Pot is a fun track in the vein of Aenima. It's classic angry Tool, but better than ever. That catchy yet ultra-complex bassline is golden, as is the rest of the song. Pure fun to be had here.

The next track is psychedelic and ambient, and frankly, weird. It segues into another one of these where you hear some strange dialogue from a doctor and a nurse who can't tell if a patient is alive or not...and then you get ANOTHER epic, Rosetta Stoned.

This song is a flawless masterpiece, combining the best of Tool's career into one cohesive effort. It is a labyrinth of sound that includes funny yet still sad and powerful lyrics (kinda Frank Zappa-like). The time signatures change every phase almost, that's why this is like a labrynth of sound. You easily get lost, but because the song is so much fun to be in, you don't care. The lyrics however have a powerful message, if you're into deciphering that. There is virtuoso playing throughout, amazing and varied delivery of the vocals, and it's just a masterpiece track. Listen to this.

Afterwards we get the soothing and ambient Intension, a nice break to set us up for the final epic: Right in Two.

Right in Two is probably my favorite Tool track ever. It is emotional, powerful, and again uses everything they do best. The lyrics are powerful, and eye-opening. Every musician is top-notch, and there is something quite amazing I like to think about the time signature. Seeing as 3/4 is a harmonious time signature, waltz-like in nature, this song kind of destroys that with 11/4 or 11/8. It plays a waltz-like pattern for three bars and then it is SPLIT RIGHT IN TWO. It only augments the lyrics and the rest of the music. It comes with an explosive ending and it's over before you realize 9 minutes are even gone.

Unfortunately the last track is pretty boring, just ambience that goes on too long. But it's there for a reason. It's part of a "secret track." Combine it with another song here that will match the length of one of the three epics, and then play the epic and the combined result at the same time for a secret track. Have fun finding it!

Overall this is an amazing album, I can't believe it's not ranked more highly at at least four stars.

The mind-blowingly insane: the ending of Right in Two The mind-blowingly beautiful: the psychedelic bliss of 10000 days The mind-blowingly unexpected: the many turns of Rosetta Stoned

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.

10/10

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.

Tool returned in 2006 with an album that has a few shining moments, but which ultimately falls short of their earlier works. That's not to say it's a bad album by any means, but given the pedigree of albums such as Aenima and Lateralus, for me it is somewhat of a disappointment.

The first half of the album is very strong. Jambi in particular is a standout. Very much influenced by touring buddies Meshuggah, it features some of Adam Jones' most complex guitar work. The polyrhythms of guitar, bass and percussion intertwine wonderfully and help to keep things interesting for the duration.

The centrepiece of the album is Wings For Marie Pt 1 and Pt 2. Clocking in at over 17 minutes, it's a moody, regretful and cathartic journey. In the earlier "A Perfect Circle" track "Judith", frontman Keenan delivers a scalding, contemptuous appraisal of his mother's religious beliefs in the face of her physical disabilities with lines such as "F$#k your God, he did this, Took what you had and left you this way." Now after her passing, he gives the strong impression that he wishes he could take those words back, praising her patience and her unshakable faith and likening her to an angel. "It's time now, Give me my wings." It's a deep and intimate window into Keenan's soul and thus one of Tool's most powerful moments on any album. Add to this the unbelievable bass playing of Justin Chancellor and it makes for a killer track.

Unfortunately, there's not a lot to like after this. "The Pot" is a great upbeat rock track, just the tonic to follow on from "Wings" and to lift the listener out of that dark and sorrowful moment. But then? The second half of the album is dominated by segues and ambience and all in all seems bereft of ideas. "Rosetta Stoned" is silly and a bit of fun but doesn't provide any lasting appeal. "Intension" sounds like the formative stages of a good song, but doesn't go anywhere. "Right In Two" provides the only substance in the last 40 minutes of the album, but as a song is only average.

This could have been a good, engaging 50 minute album. As it stands, it seems Tool were intent on maintaining the 70 minute plus standard of previous works, but just simply did not have the inspiration to fill it with anything meaningful. The resulting meanderings detract from the album as a whole.

As an addendum I would like to praise the CD packaging, which is very inventive and unique, complete with stereoscopic glasses built into the front cover. It's a great incentive for fans to go out and buy the product rather than just downloading it.

A solid 7/10 but I'll round it down to 3 stars.

The only psychodramatic occult concept album to include a repeated refrain about [&*!#]ting 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.

I can not write a really long review for this 10,000 Days album or any other. But I can say that this is my favorite TOOL album, I love it and I have listened to it at least 10,000 times or more. This is Tool's most Progressive Rock/Metal album to date. Rosetta Stoned is my favorite track from this album closely followed by The Pot, Vicarious, and Right in Two. And like every other TOOL fan around the world, I can not wait to see what TOOL has in store for their next album. I hope they keep moving forward and pushing the boundaries.

My wife is not too crazy about this album. But then is it her writing this review? No. This album with it's concept as a whole beckons back to the seventies when bands actually cared about art regardless of how high they were on drugs and being manipulated by record executives who were probably ten times more high on freak knows what than the guys in the band were.

What attracted me at first was the elaborate CD concept artwork. I said to myself this I gotta hear so I forked out 21 bucks for it along with the BB King CD that I had gone in to HMV fir that I had on special order. I can only describe the package as psychedelic. The music is heavy, lyrical, angry and encompasses influences from everything from early Black Sabbath, Zeppelin to 90s King Crimson with originality. I couldn't take it out of my CD player.

What a Surprise. Not a big fan of anything beyond 1975 but this one blew me away. I have no choice but to give this work of art 5 stars.

With 10.000 Days Tool failed to deliver another masterpiece like Lateralus, but they managed to create an excellent album with some of the band's best moments, among other mediocre parts.

The production of the album is really good , with more balance progagonism of every instrument compared to Lateralus, where the guitars are god. I find the obsession of Maynard to distort his voice in some songs a bit annoying, but otherwise nothing to complain about the sound of the record.

Vicarious is just a perfect song, with outstanding lyrics and a perfect balance between commerciality, technicity and obscurity. But Jambi is even better, presenting the best Adam Jones guitar work to date. Just amazing start for this album!

But sadly, Wings for Marie is too slow and boring, despite the solid lyrics. 10.000 Days is better, thanks to the powerful second half, but inevitably the sensation of quality descent is there. But suddenly comes The Pot, another great song with one of the best Maynard James Keenan works on vocals. A classic!

But Tool does it again... Lipan Conjuring is absurd and pointless again, while Lost Keys (Blame Hoffmann) is a superficial introduction for Rosetta Stoned with nice guitar layers, but nothing more. Since Aenima this band is obsessed in introducing this little silly tracks wich are normally just pretentious, dull and unnecessary. And 10.000 Days is no exception.

Nevertheless, Rosetta Stoned is another thrashing track, with funny lyrics, very rhythmic and complex. Very good!

But then comes Intension... Once again too slow, but with mysterious and cryptic lyrics, very well written and a song wich leads to Right in Two, another highlight on this albums with top lyrical work. Similar to 10.000 Days in intensity and structure, but better.

And Viginti Tres? A vain reference to Nostradamus and the Antichrist, really boring.

Conclusion: 10.000 Days contains five great and three nice songs. The rest is rubbish. But the problem is that the good parts are so incredible, that I must give this album four stars. Is by far not so good as Lateralus, and it's also clearly under Aenima in my opinion, but it's another strong release from one of the most interesting and unique bands un progressive metal. And it contains the best lyrics of the band's history in my opinion! And that's is not a little thing.

Let's hope the best for the album that Tool are composing right now! I think It will not be their best, but I hope that surpasses this not so great 10.000 Days.

Best Tracks: Vicarious, Jambi, The Pot, Rosetta Stoned, Right in Two.

My rating: ****

TOOL masterpiece!

1. Vicarious and the dark entry, unrecognizable rock, latent spaces, 2. Jambi and the syncopated, electric riff of the start; a still very heavy, choppy sound; when I think that some see the psyche, the progressive in there, I remain circumspect; the vocoder used puts a little psyche ok but really an ersatz; the sound with this nervous riff often reminds me of the rantings of the SMASHING PUMPKINS which had progressive reminiscences; and if TOOL had any; good long melodic and nervous suite we said 3. Wings for Marie, Pt. 1 latent doom intro with Tibetan bell, no art-rock wow what is this band? a guitar that sends you to the IRON MAIDEN well, it vibrates, hums, the space fills up, Maynard gives the dark side of the album, by the way, did you put on your glasses? a Riddick-style schizoid cover too and 4. 10,000 Days (Wings, Pt. 2) similar intro but faster, I take off my headphones I hear the storm through... oh no it's really in the title; I take it off it's really stunning oh yes it's not the storm in real life, it's inside; I close my eyes for a few moments to open them again... is Maynard in the room, oh no damn; 3 minutes it rises and the prog blood comes to light, a new blood, Indian, Comanches for a musical trance; TOOL is not told, TOOL is lived; good question hidden title i tried crosswise, right, left, nada; like a strident solo from Adam don't forget he's the strong man of the group, the one who allows himself to go far, to make you dance like a zombie, thirsty for blood, yes the prog is there! A group apart that makes hypnotic metal, not based on the goldsmithery of cascading notes but above all on the frantic rhythm of trance, in short, hilarious and frenetic like these many bedridden days, a beautiful tribute 5. The Pot ...I dare, I've always found Maynard innovative and charming; his Iroquois punk crest that mocks the progs forever traumatized by this brutal end due to them...a real friend; well if not the more we advance and the more the sound becomes good prog metal, finally metal with progressive incursions just in the soli breaks, crazy 6. Lipan Conjuring yes some people are starting to think but what nonsense is he talking about?... and that's not prog, this Indian interlude, and bam!! I conjure fate with dexterity 7. Lost Keys (Blame Hofmann) yes I read... Experimental/Post Metal and be, but why not... unclassifiable this band with this latent post track, an ideal second interlude to settle down, here we come and talk to me ah not yet a sound effect that I take cash or happy, good the steps move away phew it's better, strident pleasant, reasonable 8. Rosetta Stoned and the album's second cornerstone; not stoner, not metal, not psyche though at the end, not rock, just an experience outside the rules to navigate in inter-space... musiczal or mushroom-like; in short, a riff of hell like the grass of the devil, a tribal rhythm and a deluge of notes, the rest being too intimate to talk about it 9. Intension has always reminded me of this psychedelic track from PINK FLOYD, that's how it is, a slow psychic rise to promote a narcissistic trance; what psyche but where are we going to find that? Well there exactly; a title full of sensitivity, delicacy, dark and cold at the same time, slow and gripping 10. Right in Two which connects on 2 acoustic guitars, where is the metal of the departure, gone; where is the annoying, trance, hypnotic, hilarious, gone side; where is TOOT, there here on this alternative track... when you don't know anymore, you say alternative; a good third and it explodes a little, in a controlled post-doom psyche mode; dry drums, the vibration of the guitar, a tribal tune from a remote tribe, a Cheyenne mantra? An air which makes you dubious, which accelerates, the trance becomes violent, it jostles you, it leaves you in your entrenchments, it makes you doubt your tastes; it's brutal, strong, tribal .. not to repeat tribal, it's high, it's TOOL until before this slow and calm return 11. Viginti Tres for the hidden title, the one in 78 rpm you listen to a hidden message? Wind yes... Well the voice we've already heard that, the sound effects too, doesn't prevent it calms the ears a tad and that... it's priceless; it reminds me of the experiences of the musical research foundation, ah remember when you hold us, but I don't know if TOOL does TOOL here?

5 years after the acclaimed Lateralus, Tool presents 10,000 days, an album that without reaching the compositional or musical levels of the previous album, leaves us excellent songs and that to this day continue to form a fundamental part of their live concerts. Two approaches have been mentioned regarding the origin of the album title, one is that the mother of singer Maynard James Keenan suffered a brain aneurysm that had her prostrate approximately 27 years (almost 10,000 days) before dying in 2003, and the other that has to do with the time it takes Saturn to orbit (a little closer to 11,000 days), and the opportunity that time gives humans to transform and leave behind behaviors that do not allow it to develop to have a fuller life .

As for the musical aspect, we find fundamental songs that are part of the indelible seal of Tool, starting with the powerful Vicarius, a criticism of the insensitivity of society to the mountain of violent and dark news to which the newscasts constantly subject people. An excellent song, followed by the no less powerful Jambi, which shows the influence of the Swedish extreme progressive metal group Messhuggah on Adam Jones' riffs, after previously sharing touring together.

They are followed by Wings for Marie part 1 and 2, composed in gratitude to Keenan's mother, Judith Marie, previously mentioned,. Part 1 is very heartfelt and has excellent musical content, which has an extraordinary moment in its development when both Carey on drums and Jones on guitars make it in seconds that the calm and dense song enters a tumultuous roller coaster for then return to its resting state. In my opinion the second part doesn't add much more to the first, being extensive and monotonous at times.

Then The Pot, excellent song, trademark of the group, where we find an impeccable presentation of bassist Justin Chancellor, with a wide variety of effects that at times can confuse the bass with the sounds of a guitar (wah-wah, delay, among others).

Lipan Conjuring, is one of the usual interludes in Tool, but they don't add points to the album in musical terms, like Intension and Viginti Tres, in my opinion without much relevance and dispensable.

Then we found again a very good song of more than 11 minutes (Rosetta Stoned), and a long introduction (Lost Keys- Blame Hofmann) of almost 4 minutes, dramatic and very well done. It is the apparent journey under the influence of LSD of a patient, who talks in the introduction with his doctor and nurse, and refers to the discoverer of the hallucinogen, Albert Hofmann. ' Right in Two, the last great song on the album, is in the same vein as The Pot and Jambi, and reflects on the good and the bad of the human being and on the unpredictability and volatility of their actions.

In general lines a very good album, perhaps a little step behind the Lateralus. After 10,000 Days, Tool took over 13 very long years for its next and long-awaited Fear Inoculum.