Tool - Undertow

Label: Volcano Entertainments
Catologue Number: CDFMN246
Format: CD
Date: 1993
Style: Alternative Rock / Progressive Metal
Rating: 5/10
Reviewer: Sidney James

Much has been talked about Tool in the rock press, mainly centring on how they are one of the few visionaries left within a conservative rock scene dominated by over hyped nu-metal bands. Most people will probably come in contact with Tool by their ground breaking Aenima album or via Lead singer’s Maynard James Keenan’s vocal contributions to the A Perfect Circle album Mer De Noms. Before the success of Aenima and the growing momentum of support and plaudits Tool released an album by the name of Undertow in 1993. An album, which gives a good indication of where Tool influences were germinated and the future directions, they were about to embark on.

The first thing that is noticeable about Undertow is that it is a far more linear album than Aenima. There is none of the strange experimental sutures that link together the longer tracks on Aenima. Also most of the tracks stick to a well-used formula: the slow/ fast dynamic. The moments of experimentation and use of different sounds and tones is also very minimal in their appearances. If anything Undertow sees Tool developing a sound rather than pushing at the limits of rock music. However comparing them to a lot of their co-patriots at the time (Pearl Jam, Soundgarden and the Seattle scenesters) Tool sound highly original and innovative.

So what we have sonically with Undertow is a album that although nods a head in the direction of the then buoyant Grunge scene is different enough to be seen as forging a new musical direction for rock music. What really separates Tool from the other bands at the time was their lack of histrionics. Where as other bands showed a direct lineage to 70’s metal and 80’s underground alt rock and punk, Tool manage to pull these influences in a new direction. However what stops Undertow from being an all out classic is that is all a little bit one dimensional.

What we have with Undertow is an album that gets stuck in a rut. Although it’s not a bad rut it’s one that limits the initial potential of Tool (This was resolved by the time of the release of Aenima). Undertow is therefore marked by a trademark sound all the way through like the name in a stick of rock.

So what is this sound? What we have is a heavy rock sound lead by the drums and bass which create a rhythmic undertow (pun intended) to Tool’s music. Over this we get harsh grinding stattcho guitars and Maynard’s high and rich vocals. We also get much use of the fast/slow dynamic with most tracks following this pattern. The first two tracks Intolerance and Prison Sex are could easily be interchangeable. With only the fact that Prison Sex deals with Maynard’s abuse by his father giving it uniqueness. It’s just a shame that with the rise of nu-metal that this topic has been overused and cheapen.

The album begins to really come alive with Bottom although sticking to bass lead fast /slow formula. However variation is added with echo being added to Maynard’s voice. Add to this a spoken word middle section and a explosion of sound at the end of the song, and you get some idea of the potential that Tool where to show in the future.

Other attempts to mess with the formula see Tool adding a thrash out start to the track of Crawl Away, the use of an eastern sounding chord progression on 40. Also on the title track Undertow, we see Tool using soaring guitars and a fantastic-attacking vocal from Maynard. All which helps push the track in a more progressive direction. The only track that sees Tool really truly escape their approach is the final track Disgustipated. This track sees Tool laying down a heavy tribal rhythm matched with a repeated chant of “This is necessary, Life feeds on Life”. Add to this strange metallic clanging and down tuned guitars. The song then finishes with a swirl of static looped into its self. This acts, as a fantastic link into Aenima when both albums are played back to back and almost seems as a deliberate act by Tool.

Undertow can be seen in a similar light to Radiohead’s Pablo Honey. Both albums are an example of bands that haven’t yet completely shaken off their influences but are trying to achieve something new. Both albums also show the potential of the bands but are limited in radical ideas. However both bands proved with their second albums that they had true and unique visions. Undertow is worth your pennies and a must if you’re a hardcore Tool fan, for the new listener I would recommend Aenima as an introduction to the wonderful and frightening world of Tool.

Tool - Lateralus

Label: Volcano Entertainments
Catologue Number: 9210132CD
Format: CD
Date: 2001
Style: Metal / Progressive
Rating: 8/10
Reviewer: Sidney James

Tool are finally back to save the world from the rise of mediocre Nu-metal bands, or so the music press would have you believe. One thing is for certain Tool do stand head and shoulders clear of the majority of the pack of rabid rock bands breaking through into the mainstream. Tool are not a band happy in following the latest trends in rock music, there’s no concessions to hip hop beats and white boy rap to be found in Tools sounds. Instead Tool plough a musical route uniquely their own, adding a degree more intelligent and innovation to a genre to happy to dum itself down to appeal to the lowest common denominator.

On Lateralus, Tool resume their musical journey which began with the average Undertow (1993) to the sprawling experiment of Aenima (1996). As you may have noticed there is a gap of five years between the release of Aenima and Lateralus. Normally such a gap in time is a worrying sign; for most bands such a period of inactivity normally spells disastrous results. Tool have however managed to use this span of time to regroup and strengthen their music. Leader sing Maynard James Keenan presence in A Perfect Circle and Tapeworm (Trent Reznor’s on hold side project) may have caused rumours of Tool’s demise, but Lateralus proves that Tool are back stronger than ever.

Lateralus begins with ‘The Grudge’. A track grounded in low end rhythmic funk and subdued electronic pulses and swirls. The song slowly builds with layer upon layer of structure being added, firstly the drums added a tribal weight to the track, then the cut off guitar riffs cut in , bringing with them Maynard’s unique voice. The song then chains itself to an ever evolving dynamic (a typical Tool ploy) moving almost mathematically from slow to fast and back again. The song then explodes into a controlled violent collapse towards the end. Even though the song clocks in around the eight minute mark it still maintains itself for the duration. ‘The Grudge’ sets a precedence for the whole of Lateralus and that is of the epic song, the majority of the songs of the album weight in over six minutes. Some could claim this was verging on prog rock style indulgence, sure this would be a fair enough claim if Tool’s music was over elaborate but instead it stripped down to the bare essentials, no fat just pure muscle.

The next two tracks ‘Eon Blue Apocalypse’ and ‘The Patient’ blend into each other so smoothly that I was unaware they were two separate tracks until I checked the CD counter and found out I was mysteriously on track four. ‘Eon Blue Apocalypse’ acts as an atmospheric intro to ‘The Patient’ all fragile guitar lines, subtle bass and drifting electronic sounds. ’The Patient’ then erupts from this gentle stillness with heavy riffing and a low end bass drawl. The song then builds and falls like waves slamming into a beach as small guitar breaks spiral in and out like flotsam carried within.

What follows is like the uneasy silence after the storm, the track ’Mantra’ is full of electronic drones and cut up eldritch voices that act like sutures joining ’The Patient” to the next epic track ’Schism’. ’Schism’ is another mammoth song, marked by clever use of rhythm and counter rhythms. The song seems to tumble through a library of different beats as guitars are reduced to soaring repetive chords, which suddenly attack with immense power only to disappear within the blinking of an eye. Tool manage to keep pulling off the trick of sucking the listener in an undulating vortex of sound.

Following the pattern set by the rest of the album, the next two tracks ‘Parabol’ and “Parabola” are part of the same beast. ‘Parabol’ is another slow atmospheric track, all echoing cymbal crashes and twanging guitar lines which creates a mystical feeling. Then ‘Parabola’ begins with weighty guitars that sound like they are tearing apart the sky. Tool couple this to more dynamic twists and turns and Maynard’s soaring vocals creating a listening experience that sounds like a modern take upon the best of Black Sabbath and Led Zeppelin. Just as your think you’ve sussed the song it ends by transforming itself back into the quiet moments of ‘Parabol’

One thing to say about Lateralus is that it doesn’t contain many (if any) potential singles. The nearest we get is ‘Ticks and Leeches’ which could be a release if it wasn’t for it’s length. The track begins with more tribal rhythms, this time laced with feedback laden guitars. Maynard’s vocals move from a scream to a sigh in the length of a verse. The lyrics seem to be an attack on the parasites in the world and in particular the music industry, especially the people who want to shape Tool in their own image. I could be wrong but the line “I hope your choking, I hope you choke on this” is delivered with such venom, you don’t want to be at the receiving end of it.

As seems common place at the moment, the album moves onto the title track. ‘Lateralus’ itself stretches well past the ten minute mark. It also follows the now (un)familiar Tool formula of building on rhythm and dynamics. Again it’s a good track but it’s hard to separate it from all the other epics that appear on the album.

The next two tracks ‘Dislocation’ and ‘Reflection’ see Tool slip on their experimenting heads again. Both tracks see the use of Middle Eastern melodies and percussion. ‘Dislocation’ is a quieter number, all trippy beats and eastern string sounds. I strong psychedelic number that sees Tool experimenting in a highly successful way. The lyrics “Watch the weather change” fit perfectly the metamorphosis of Tool’s direction.

‘Reflection’ starts with a liquid drum sound, phased electronics and stuttering guitar riffs. Middle Eastern strings are then added to the brew adding another layer of complexity. Maynard’s vocals are also placed through a variety of effects and at one point sound like they are being sucked backwards. ‘Reflection’ sits perfectly with ’Dislocation’ as stunning pieces of psychedelic influenced metal for the new millennium.

‘Triad’ then brings the album to it’s logical conclusion combining the best moments of the previous two tracks with the rhythmic assaults of the earlier tracks. A perfect ending to the album, which can not be spoilt by the strange alien conspiracy sampling noise experiment of ‘Fraaip De Oiad’ that closes the album.

Lateralus is probably going to be one of the benchmark rock albums of the year. It also provides that metal doesn’t have to be about down tuned guitars and adolescent rage. Tool prove that ideas and ambition are far more important than the size of your trousers or how down with the kids you are. If you want to be impressed by the power and innovation of rock music look no further than Lateralus.