Tool Dissectional

Tool’s 10,000 Days: A Track-by-Track Odyssey

Throughout the ’90s and 2000s, one band differentiated itself from the fads of the era while rivaling those same bands to the extent of practically reviving the avant-garde side of the genre. Tool relied on the masterful craftsmanship of Adam Jones, Danny Carey and Justin Chancellor. Backed by polarizing lyricism from Maynard James Keenan, these elements combined to create one of the most unique albums in the progressive metal scene—and in metal as a whole.

To understand the effect and masterfulness of 10,000 Days, we must analyze and review each track and rate them to see if they truly did.

“Vicarious”: 5

The opening track absolutely slaps. Carey’s work showcases intricate time signatures and anchors the instrumentation. The guitars are mixed atmospherically, using pedals and less traditional riffs with rhythmic flourishes, especially in the choruses. The bass replaces traditional guitar tones in the mix, propping up Carey’s drums. Keenan leads with a narrative on nihilism and the indulgence of sensationalist news. A strong, catchy opener.

“Jambi”: 4

“Jambi,” named after the genie from Pee-Wee’s Playhouse, applies hooks from Undertow and elevates them with the newer mixing principles of this album. Keenan explores more vocal range with various effects. A strong representation of what the album aims to achieve.

“Wings for Marie, Pt. 1”: 5

This track takes a somber, otherworldly turn. It carries a malignant sense of pessimism but builds into a hypnotic loop of guitar work by Jones. Keenan delivers a sorrowful piece that honors his mother, who passed away after being paralyzed by a cerebral aneurysm when he was 11. The catharsis is palpable in both the lyrics and instrumentation.

“10,000 Days (Wings Pt. 2)”: 5

A fleshed-out continuation of the previous track with more progressive elements. The drums shine even more here, and the lyricism reflects on religion and the afterlife. It’s poetic and recalls Keenan’s earlier work. Awe-inspiring throughout.

“The Pot”: 5

This track borrows from Keenan’s work in A Perfect Circle, particularly Thirteenth Step. There’s attitude in the vocals and a Nu-Metal-esque punch in the riffs. Chancellor’s bass has a tinny, unique tone, paired with tribal-like percussion that fills out the sound. It’s simple for Tool, but incredibly satisfying.

“Lipan Conjuring”: 3

This is an instrumental. What else do you want?

“Lost Keys (Blame Hoffman)”: 5

Another interlude, this one sets the stage for the following track. It depicts a man either experiencing a substance comedown or the effects of PTSD. “Hoffman” refers to Albert Hoffman, the chemist behind LSD. The piece is effective in tone and transition.

“Rosetta Stoned”: 5

Moving out of the album’s midpoint, this song is a chaotic, hook-filled acid trip. It essentially embodies the album’s sound. The story follows the character from “Lost Keys,” who experiences ego death and claims to receive messages from aliens. Enough said.

“Intension”: 3

This track is confusing—perhaps an interlude or buildup for the next track—but seven minutes is a stretch for that purpose. It feels unclear in intent.

“Right in Two”: 4

Combining the dissonance of “Vicarious” and “10,000 Days,” this track explores sorrow and aggression in a balanced way. Keenan’s lyricism shines as he adopts a divine perspective, critiquing humanity’s obsession with fatalism and conflict. Released during a time when governments rationalized war with dubious evidence, it hits hard.

“Viginti Tres”: 3

Another instrumental, but this one spotlights Jones’ guitar and pedal work. The atmosphere he creates with minimal notes is striking. “Viginti Tres” translates roughly to “23” in Latin—for what it’s worth.

Overall:

This album displays the full breadth of Tool’s artistry. It’s unfortunate that fans had to wait nearly 16 years for another album, but 10,000 Days set a high bar few can rival.