Tool are big and exhausting

Tool are big and exhausting

Undertow (Audio CD)

Customer Review

With "Undertow" brought Tool 1993 their first album under the people's after they had a year earlier been published which quantitatively rather disappointing but quite impressive debut EP "Opiate". The new material now is made up of ten tracks but please at least as to einheizen Like the old coals. Thus the horizon of expectations of some fans might anyway have ausgehesen. Whether anyone who had the band closed with "opiates" in his heart, enjoy this album finds remains questionable, but at least there is a lot to discover.
The CD gives initially with "Intolerance" an impulsive Start and seem equal neatly to step into the iron, but it quickly becomes clear that the basic tempo is another, a tougher, more cumbersome, provided for a period with the effect of numbing inertia which mutated in the course of the album to the striking hypnotic rhythm that characterizes the whole work and entitled "Undertow" also not too far away is: Because like a suction pulls the music the listener down, leaves his limbs heavy and lame become. Retrieved from "slow" per se but can never be any question.
Enormous contribution to this effect increases especially at the beginning of the album "bottom feeder" Paul d'Amour on his magendurchwühlenden four strings that come along almost even heavier than on the debut but also confident, yet never intrusive. Which is precisely correct. And that gives the sound a base, giving it shape and makes him speak good grip.
Speaking of grip: Danny Carey, responsible for "membranophones", seems to have everything in his shooting gallery so under control, as if he had been knocked abstract strokes in the womb. The man does everything right, to fit perfectly in tools set to music syrup and white the handset yet at the right time by a short but violent, almost an athlete corresponding tightening the tempo rouse again. Almost one wants then in "Crawl Away" say so, "Danny goes hardcore" before then by the subsequent retarding Punktlandung everything is sooooo laaangsaaam again. He puts his fat produced projectiles and especially bass drum and double bass skilfully to reinforce the "inertia effect" and to give the music character.
The character of the disc produced but musically especially guitarist Adam Jones. The booklet is placed after his name "bastardometer" which somehow sounds almost aptly: Only operate the six strings in insanely heavy and crushing riffs like on "opiates", but then he spoiled the handset with real pats and effectively newfound melody to "Undertow" not only characterizes the tool's overall impression but immensely appreciates. Increasingly he entwürgt the instrument further also verschrobenes to spiraling to dizzy heights strumming, one (probably intended) basically has quite disturbing effect. As the entire sound of the album itself also. There's always something repulsive in these ten songs and just seem to want to cause tool.
Shape and color (the color would probably be "rust") acquired the repulsive and disturbing of course even more so by the charismatic singer Maynard Keenan, who just seems to work with this album pain, anger and fear. While listening to the track "Sober" can be this broken, angry little people really well imagine squatting in a damp, dark corner. He brings his vocals as usual over very passionate and persuasive, and you really wonder sometimes, where he gets his strength and energy of his voice and just as miraculous and wonderful appears one then the opposing view, fragile, shy Maynard when he returned to his chanting is very small. As for the expression per se, Maynard adorns the texts now been increased with clever descriptions and images, as well as sizeable tool's neologisms, where he still misses no "Fuck" basically. Honest.
As a group work tool on "Undertow" back as good as ever on the debut: Man staged jointly impressive crash thunderstorms. You can as opposed to "Opiate" by more breaks to the dust settles, so to speak, to him then vigorously stir up again. It can be a little more time, come here and there from the basic theme of the song from, making small individual excursions and then come back together at the output path so that can be no doubt in mind that knows every single way. The songwriting is complex, often causing more liquid and soft as butter presented transitions and especially start Tool songs slowly to sit down together from various, often non-repetitive sequences and to practically pursue a career. Tool making on "Undertow" no music that can be packed into the radio format easily. Will they not. Instead, take a song now already about six minutes, but this is only to be regarded as positive, because you realize that unfold tool therein and open up new horizons even. And time does not simply have to be for this admittedly take digesting piece of music anyway.
To sum up here have tool produced an album with which they certainly establish themselves in the scene and cling, the mentioned horizon of expectations of well required fans is a patience and time demanding (the CD takes time!) Provided sample, but the motives of the band are probably still looking for other places: Tool have her (also in terms of their following albums) by far verstörendstes work delivered that the handset stripped emotionally and embarrassed by the generated atmosphere, the topics and the musical pictures in a certain way and that is what seems to be the intention. Especially the preferred by Adam Jones designed booklet with thick naked women, shaved hogs and cows lick themselves anal (as I said there are a lot to discover ...) reinforced this impression. Tool has grown since "opiates" but at the same time they begin to cast shadows on themselves and leave something in the dark or unspoken, what they can only continue to grow in my eyes.
The point can only be one: Buy!
Highlights of the CD are virtually impossible to identify. "Prison Sex" is recommended as set to music impulsive child abuse with high Entrückungswert and at least as disturbing "Sober" is in my opinion the strongest piece maybe the band ever. Once tool have then strummed via "4 °" in the cortex of the listener, take a final act as yet a fairly strenuous, slow but more coming unstoppable rolling chunks called "Flood" in order then one at the end to leave in a ritualistic scenario between bleating and chirping. Alone.

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