Dream Theater vs Tool

To avoid the massive amount of quotes that might become bothersome, I'd just like to point out Tool don't have that scant variation, previously implied, as the sound may seem similar throughout one album, or even in comparison with other works, but that's mainly an "outward" layer of what your ears perceive, since the changes occur, shifting in subtle movements of tones, contextualized in their own ambience, though presenting not so conspicuously depicted nuances. Thus, unlike Dream Theater, where every album is clearly distinguishable from the rest, the motions in Tool's progress are more profound - hence why, I, for one, claimed Tool to have as equal or superior depth as DT, since I feel there's an intricately meticulous mechanism, coaxing the sound to be “decoded” in a deeper analysis, in order to perceive the changes. The diversity itself alone isn’t what defines depth, I believe, but, even so, Tool aren’t as monotonous as one might prematurely conclude, nor can there ever be a decrease from Aenima to Lateralus and, consequently, to 10,000 Days (where the musicians demonstrate their great instrumental capacity along with its elaborate composition, in psychedelic moods never displayed before), as int_2375 concretely referred to, yielding some considerably substantial examples.
However, DT aren’t solely poised on simplistic structures, saved by mind-blowing soloing, as one can also determine individual spirit and rich variety of sound, amongst one album, though, crafted to pursue the album’s identity and mood. As AtLossForWords rightfully indicated, the drumming (and the drums themselves) wasn’t that much stagnated to a specific technique: it’s fairly easy to discern Images and Words through its drum rhythm and tone; Scenes From A Memory detains faster and more diversified beats, accounting to the songs’ singular status (even though the style converges to a consistent sound, since it’s a concept album). The panoply of songs shouldn’t be defined as the “same endlessly fast playing and soloing”, as well, taking into mind tracks such as Hell’s Kitchen, Wait For Sleep, Space Dye Vest, Misunderstood, Trial Of Tears, etc, that combine the melodic façade with instrumental precision and vocally transmitted sentiment of a not-so-banal construction. There are, nonetheless, powerful instrumental sections that extend the average solo length and transcend the soloing component, leaving all instruments to get a taste of the “pedestal”, as is seen and discussed on Scenes From New York – there was too much happening at the same time that one instrument alone wasn’t enough to be caught on camera.
Anyhow, this is just the impression that I draw from two grand bands and, whether or not one overlaps the other is highly propitious to subjectivity, since both have distinctly different ambitions and directions from one another. As to my use of words, I apologize for the apparently troublesome speech, though I find it easier to enhance the purpose into clarity, through a larger number of words, when it comes to express myself in an alien language, especially transmitting abstract intentions and feelings to a tangible comprehension, although, I do recognize I have little flux, coming contradictory to the thought, but I’ll try to evolve, in such terms, or cause less discontent. It saddens me, though, that there are still those who mistake intelligence for garrulously written speeches (often depicted in poorly written scripts for unoriginal movies, where scientists wear a bow-tie and profess the term “atomic” 10 times per sentence), as it is or should be demonstrated by one’s mentally logical pattern, but, then again, maybe that’s just a criteria exclusive for IQ tests.