Dinosaur Pile-Up Signs With a New Label and Drops Enjoyable Fourth LP

Celebrity Mansions is an enjoyable project, but falls short of being anything more.

Dinosaur Pile-Up is an alt-rock band from Leeds, West Yorkshire, England. They debuted with three well received EPs in the late 2000’s before dropping their first full length album, Growing Pains, in 2010 with charted in the UK. They quickly signed with SO Records and releasing the follow up, Nature Nurture just three years later and supporting it with a tour that brought them to the United States for the first time. Eleven Eleven dropped in 2015, their third full length studio effort and final partnering with SO before landing a massive signing with Parlophone Records. With the much larger label, Dinosaur Pile-Up has access to the highest budget they’ve ever had for an album, a massive growth from their debut which was recorded in at home. With this budget, they’ve recently dropped their fourth studio LP and, for the most part, it’s a blast.

Like any good rock album, one strong feature of the record comes in the form of its lead guitar. Matt Bigland brings a handful of creative ideas to tracks like “Back Foot,” and “Black Limousine,” meshing noticeable, smooth melodies with chaotic, garage rock tendencies to make for quite a few impressive moments. For many listeners, this detail may fall by the wayside because of louder, more commanding elements, but no rock record is complete without strong guitar work.

That being said, Bigland is far more impressive in his duties as the band’s lead vocalist. His range and energy make cuts like the opener, “Thrash Metal Cassette,” and the title track infinitely listenable. He’s so clearly having a great time and it comes through in virtually every second of music. Not to mention, his screams are quite impressive, especially for the genre.

Even more addictive than Matt’s work as the frontman are Mike Shells’ fantastic drums. Virtually every track is impressive, but a few of my favorites include “Stupid Heavy Metal Broken Hearted Loser Punk,” and “Black Limousine.” Throughout the LP, Mike is exactly the kind of drummer this genre demands as none of his rhythms are particularly eye-popping but all of them bring an explosive style that takes each track to a whole new level. The drum kit is also particularly well mixed, which brings me to the true highlight of the album.

The production on this album is excellent. The new label’s money is well spent hear as the album carries a perfect balance between the sharp, tight mix and the messy, ringing instrumentation. The sharp cut off on “Pouring Gasoline,” is a fantastic example of this. On the other hand, there are a few creative moments like the surprising use of radio effects on “Round The Bend.” It’s this strong production throughout which elevates every track and even saves a few poor ones.

However, unfortunately, I do have quite a few complaints with this LP. Perhaps the worst quality comes in a few cringe-worthy lyrics on later cuts like “K West,” and “Professional Freak.” This is especially disappointing as lyrics on earlier tracks are quite strong. Additionally, several tracks on the latter half of the album just don’t carry their weight and seem to drag a bit. 

All in all, Celebrity Mansions is a fun listen. It brings back much of the alt-rock and pop punk styles of the early 2000’s with a bit more precision and maturity as well as some very strong production. However, several lyrical and melodic moments don’t quite live up, causing the album with a runtime of only just over half an hour to feel bloated.

Celebrity Mansions is an enjoyable project, but falls short of being anything more.

4/10

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Tool Sells Out the Enterprise Center For An Incredible Performance

Tool is still one of the best rock bands in the world, without a doubt, and this tour has only further codified their place in rock history.

Tool is an alt-rock/prog-metal four piece who rose to popularity in the early 1990’s thanks to their unique sound, bizarre live performances, and a fantastic debut EP called Opiate which came out in 1992. At this time, their sound was heavy, often droning, and far more melodic than the majority of the underground metal in the early nineties. As they progressed, and thanks to the additions of Peach bassist Justin Chancellor and King Crimson producer David Bottrill, Tool took on a more experimental and cutting edge tone which led to massive success and critical acclaim which has continued to this day.

I’ve seen Tool three times, and this was by far the best of the bunch. My first experience came in 2016 at the Chaifetz arena in Saint Louis. It was a smaller tour and Chaifetz is a smaller arena, but the show was fantastic and seeing one of my favorite bands for the first time was a blast. The second came as the headliner and final performance at 2018’s Rock on the Range festival where Tool, though not on tour at the time, brought the house down musically but didn’t quite have the stage set up one would expect from the group. Last night, I saw them for the first time in their peak form, in front of a sold out crowd of about 18,000 roaring fans at the Enterprise Center in St. Louis.

Of course, a giant question looms over any review of a Tool concert in 2019, and so I’ll answer it immediately. Yes, they played new music and it was fantastic. Coming into the show, I’d heard a few shoddy cellphone videos of new tracks like “Descending,” and “Invincible,” but I found myself shocked at the extent to which those videos don’t do these songs justice. The former was brutally heavy, featuring a few of the thickest breakdowns in Tool’s catalog and the latter has an interestingly bright tone and some of the best drum work of Danny Carey’s career. As the intermission before the encore came to an end, the screen went blank and lit back up the word’s “August 30th” written in white, referring to the release date for Tool’s first new LP in 13 years, and having heard these new songs in person, I found myself filled with a brand new excitement like I’ve never felt for an album before.

Beyond new music, all four members of the band gave simply incredible performances on a litany of Tool’s best hits over their long career. They opened with “Aenima,” which was a perfectly heavy way to kick off the show. Maynard’s cleaner vocal sounded excellent on tracks like “The Pot,” and his screams were gravelly and powerful. Adam Jones’ guitar work on songs like “Jambi,” was thick and impressively fast-handed.

The stars of the night, however, were certainly the drums and bass. Justin Chancellor’s bass line on “Schism,” was as excellent as ever, and throughout the show, he was an absolute ball of energy, swinging his hips like an ape and playing with a deep, rich tone that seemed to shake the walls of the entire arena.

Just behind him, Danny Carey helmed a massive drum kit and proved once again that he is one of the best drummers of all time. From his complex rhythms on “Forty Six & 2” to his explosive playing on “Vicarious,” and “Intolerance,” his playing commanded respect and attention for the entirety of the show. The encore began with an extended drum and synth solo from Danny, alone on stage, which was an extremely welcome break in the action to appreciate one of the most talented musicians to ever pick up a set of sticks.

Highlights of the show included a sprawling, expansive performance of “Parabol/Parabola,” early in the set and the ferocious performance of “Stinkfist,” to close the show. These were made that much better by an awe-inspiring light show which included an array of lasers, a lighted, colorful pentagram which moved about in the background, and a multitude of entrancing videos on cranes behind the band, most of which consisted of Tool’s infamously strange music videos.

All in all, this was one of the best live performances I’ve ever seen. Nearly 30 years after their debut, to see Tool returning to form in front of a sold out arena is an exhilarating experience. It’s hard to believe that we’re only about three months away from finally hearing the new album and this show left me more excited than ever.

Tool is still one of the best rock bands in the world, without a doubt, and this tour has only further codified their place in rock history.

Catfish and the Bottlemen Stay True to Form For Better or Worse on Third Release

The Balance is a fun project full of great efforts that just can’t quite break the atmosphere of its own uninventive creation.

Catfish and the Bottlemen are an indie/alt-rock outfit from Wales. The debuted with 2014’s The Balcony which went platinum shortly after its release. Prior to their debut, the famously cut their teeth playing in the parking lot before larger bands’ gigs, and that experience very clearly informed much of their commanding sound. After the massive success, the launched two tours and dropped The Ride as a follow up LP in 2016, which went gold. The back to back strong releases netted the band a spot as an opener on Green Day’s Revolution Radio tour in 2017. In January of this year, Catfish and the Bottlemen released a new single and announced the release of their third studio record, The Balance. It’s finally here, and it’s mostly meets expectations.

One strong addition to The Balance that wasn’t nearly as prevalent on previous releases is a string of excellent bass lines. On tracks like “2all,” and “Basically,” Benji Blakeway is given the front seat, melodically speaking, for much of the runtime. His parts are well written and he performs confidently but, of course, the tone of the bass can’t be ignored. The thickness that Blakeway along with, presumably, the production team achieved is fantastic, and it brings another level to his work.

Additionally, Bob Hall’s drums are quite the asset. On a cut like “Fluctuate,” he finds a danceable rhythm and delivers it throughout, where as on “Mission,” his bombastic style guides the group extremely well through multiple timing and style changes. His style is nothing revolutionary in rock music and he rarely shows incredible speed or complex rhythms, but there’s something to be said for reliable simplicity, and that is delivered in spades.

Of course, this is a rock album, and so it’s nothing without the guitars. Luckily, Johnny Bond, the band’s newest member, holds this down quite well. Here, Catfish seems to have improved the most over previous efforts as they’ve found a consistent tone and style which works well with their sound. Tracks like “Sidetrack,” and “Coincide,” feature driving and catchy riffs that will remain in a listeners head for quite a while. 

The album’s strongest points, however, are Van McCann’s vocal performances. From the opener, “Longshot,” to the closer, “Overlap,” and even cuts throughout the middle like “Encore,” McCann brings a confidence and punk energy which is, frankly, more that what he has any right to. His range is quite impressive and, thanks to a handful of grin-worthy one liners, he’s charming enough to carry the record through most of its rough points.

All this being said, I am left with a few complaints, one of which I’d expected before ever hearing The Balance and had hoped the band would be able to mitigate better than they did. Namely, this album can often be boring. It lacks and width whatsoever in its instrumental pallet, and each cut comes in somewhere around the three to four minute range and is built on nearly a identical structure. This can often ignored thanks to strong performances and a magnetic frontman, but on songs like “Conversation,” and “Intermission,” the veil of talent just can’t obscure the numbers by which this album was painted.

However, that certainly doesn’t make the record unenjoyable. In fact, if you want to shut your brain off for a moment and enjoy some fun, meat and potatoes alt-rock, The Balance is the album for you. There’s plenty to enjoy, especially on the first few listens, and it’s worth checking out for any fans of the alt-rock scene that once ruled the world just a few years back. However, there just isn’t enough risk or creativity to be found here, and the record suffers for it.

The Balance is a fun project full of great efforts that just can’t quite break the atmosphere of its own uninventive creation.

5/10

AMAZON LINK: https://amzn.to/2UbiiiB

Badflower’s Debut is Flawed but Exciting

OK, I’m Sick is imperfect, but a promising start for an exciting new rock band.

Badflower is an alt-rock four piece from Los Angeles, California. They signed with Hundred Handed Records in 2014 and released their debut single, “Soap,” the following year. They began touring as an opening act for The Veronicas in Europe and gained quite a buzz within the industry. This eventually lead to their being approached by Republic Records who began a complicated discussion of buying their contract out from Hundred Hands. Frustrated with this process, Badflower took to their garage to record and self-produce their debut EP, Temper. The project was extremely successful with singles charting in the top 40, larger crowds attending their shows, and a few spots in rock festivals across the country. After building an impressive following, especially in the difficult landscape of current alt-rock music, Badflower has finally released their debut LP, OK I’M SICK.

From the very start of the record, it’s clear that the instrumentation is a driving force behind Badflower’s sound. Guitarist Joey Morrow drops quite a few impressive riffs across the album from the opener, “x ANA x,” to “Die,” on the latter half of the LP, he benefits quite a bit from a thick, fuzzy effects that allows the guitar work to cut to the front of each song. On top of this, his riffs and solos are not only impressively performed, but extremely listenable and well written.

This is also true for Alex Aspiritu on bass. While much of the bass work on the album serves to add depth to the already powerful instrumental pallet, it also has a few moments in the spotlight. On by far the best cut of the record, “Heroine,” or on a track like “Wide Eyes,” the bass not only plays its own interesting melody, but when the full instrumental falls back, its often the bass guitar that carries the track. I’ve said before that the sign of a great rock band is their bass player, and Aspritu does excellent work on this album.

There’s also some great songwriting on this album. This is especially true in the melody department, as tracks like “The Jester,” and “Ghost,” feature earworm choruses without sacrificing the overall edge of the album. In a modern music landscape that isn’t exactly friendly to rock music, the ability to write a strong chorus and hook is extremely important and luckily, it’s a skill that Badflower seems to posses.

Perhaps a bit less noticeable, however, is the lyrical quality of many of these tracks. “Daddy,” for example, deals in difficult subject matter with an admirably unflinching hand, translating much of the discomfort caused by the story into relentlessly honest writing. “Girlfriend,” on the other hand, is an old school, blues cut with comical lyrics that mirror the punk energy that comes with the instrumentals.

All this being said, Okay, I’m Sick ultimately lives and dies by Josh Katz’ vocal work, which is, for the most part, excellent. There are clear influences from the likes of Gerard Way and Jack White, but he makes the sound his own with emotive delivery and a manic energy lifted straight from the pop-punk days of the early 2000’s. On a track like “Murder Games,” he’s able to stand out above a raucous band. The closer, “Cry,” on the other hand, sees Josh carrying a much longer track as one of the most dynamic and interesting elements.

The shortcomings on the record can be narrowed down to one specific area and that is production. There is a depressing multitude of songs, namely “We’re in Love,” “Promise Me,” or “24,” that are all but ruined by the mixing and production. The majority of the problem is characterized by an insistence on sanding down every hard edge across the entire album. It sucks the life out nearly every cut and robs several tracks of any energy.

Despite this, OK, I’m Sick is a largely enjoyable experience. It hits many of the best points of alt-rock and emo-rock but injects enough melody and energy to make the record accessible to fans outside the genre.

OK, I’m Sick is imperfect, but a promising start for an exciting new rock band.

6/10

AMAZON LINK: https://amzn.to/2HcppUD

Thoughts on the Return of Tool

What it will sound like is anybody’s guess, but for my money, I expect nothing less than greatness from one of my favorite bands of all time.

April 28, 2006. George W. Bush was president, the second Pirates of the Caribbean film was gearing up to hit theaters, and the Saint Louis Cardinals had just won their tenth World Series. Of course, I don’t write about any of those things, I write about music, and in the music world of 2006, Tool had just dropped their long awaited fourth studio LP, 10,000 Days.

The album was sprawling, conceptual, and one of the band’s most personal to date. In many ways, it the final step in Tool’s transition from an especially impressive member of the West Coast alt-metal scene to a fully fledged, internationally successful, prog-metal outfit. Most importantly, it put an end to a five year wait for a follow up to 2001’s Lateralus. It was a gap that frustrated fans at the time, but would soon be dwarfed in the coming years.

To date, We’re coming up on 13 years since we last heard new Tool material, and the explanations are numerous. The most common reason given is legal issues as the band has recently been involved in two major law suits, each of which they won. Additionally, each of the four members have been quite active in side projects. Regardless of the reasons, the law suits are over, the side projects are on brake, and according to Keenan’s Twitter account, we could see new Tool music as early as mid-2019. 

This, of course, brings with it many questions, two of which are quite pressing. Firstly, what can we expect to hear? Second, will we be disappointed for the first time in Tool’s long and nearly perfect run? Neither of these questions will be answered until we’re holding the physical CD’s in our hands, but we can take a stab at them now.

When it comes to expectations, there is even less to go on for this record than for your average new album. Where as most bands provide fans with a litany of sneak peaks, updates, and interviews, Tool has, predictably, not done this. Instead, they’ve released only a few images from inside the studio, one of which showed Danny Carey’s elaborate drum kit, and sporadic messages of assurance that the record is in the process of being made and will release in 2019.

So, to know what we can expect, we can only look to a few sources for hints. First and foremost, at least one track, reportedly entitled, “Descending,” has been performed at a few live events, one of which I was lucky enough to see at Rock on the Range in Ohio. The track is entirely instrumental, uses heavy delay effects, and feels like a continuation of growing emphasis on a prog style that we saw on 10,000 Days. That and its tentative title lead me to believe that this may be an opening track to the new album, which could be another longwinded outing for Tool. 

On the other hand, the setlist of the recent tours have been almost entirely populated with the band’s earliest material. This could easily be something of a thank you to longtime fans for waiting as long as they have, but it could just as easily indicate that they aim to return to the simple, heavier sound that put them on the map.

Considering the new album also leads one to wonder how much the changing landscape of rock and metal will influence the sound. The waves of nu-metal which Tool rode in on though never falling in with are long gone. In their place, bands like Code Orange and Daughters have done their part to bring back a more brash, explosive form of metal. I, for one, would love to hear an older act like Tool take a few notes from the recent work of bands like these in developing a more primal, visceral sound. More than likely, though, we will be treated to the most lengthy and conceptual entry of the band’s catalogue, which, of course, raises questions of disappointment.

Even the most avid fan can’t be blamed for wondering if it’s still there; if the Tool we know and love has survived the long hiatus and can return without obvious rust or aging. A bit of hope can be found in side projects.

Maynard James Keenan’s work on the side has been the most public by far. In the time since Tool’s last release, he’s started a new band in Puscifer and released three original LP’s under the moniker, not counting the multitude of remixes and EPs. He’s also become a massively successful wine maker in Arizona, an activity which he has long credited with keeping him grounded in his writing. Not to mention the newest A Perfect Circle album, which did quite well. All of this work, though I can’t speak to the quality of the wine, has been quite impressive in its own right. Most importantly, his vocal melodies and lyricism don’t seem to have lost a bit of quality.

The rest of the band has been quite active as well. Danny Carey has played with the jazz-fusion band Volto! for several years including a fantastic 2013 album, Incitare. His work with the group is as complex and groove heavy as its ever been and the album serves as further proof that Carey is one of the greatest drummers in rock history. Justin Chancellor worked with his own side outfit, MTVoid to create the 2013 album, Nothing’s Matter, an underground, industrial metal record that relied heavily on his excellent bass work. He’s also had a rumored collaboration with the experimental hip-hop trio Death Grips in the works since early 2018. In short, there is far less rust on the joints of Tool than casual fans may think.

As far as disappointment, that burden falls squarely on the shoulders of fans and our ability to mitigate our expectations. If you’re waiting on an Earth shattering, world changing, metal record, then you’ll absolutely find yourself disappointed. On the other hand, if you expect a great metal album from a great metal band who’s discography is essentially without a blemish, then you’ll likely get what you want in spades.

Tool is one of the most enigmatic bands in rock history and so it’s unsurprising that we’re headed into a new album after a decade and a half of silence with little to no information. While rumors swirl, including the theory that, along with this release, the entirety of Tool’s catalogue may finally be available for online streaming and sales, virtually nothing is confirmed, and it will likely stay that way until the album is here. What it will sound like is anybody’s guess, but for my money, I expect nothing less than greatness from one of my favorite bands of all time.

Every Maynard James Keenan Album Ranked!!

This one took me quite awhile, but here it is! Every Maynard James Keenan album (post Opiate) ranked!!

12. Emotive (2004)- A Perfect Circle

     The most critically maligned effort in Maynard’s post-Tool career, and admittedly the most underwhelming, I will still be the first and loudest defender of this album. All too often, Emotive is subject to overly brutal criticism because it is viewed through the same lens as the band’s previous work. Instead, the album toes the line between full blown third release and something of a side project. I think, had this been followed quickly by a true end to the band’s trilogy with Virgin Records, much of the distaste would’ve subsided. However, Emotive is what it is, that being, by all accounts, a mixed bag.

   Maynard’s lyricism can hardly be discussed here, as the album is made up of political covers, but the song selection does provide an interesting peak into his inspirations. Track’s like Marvin Gaye’s “What’s Going On,” come off admittedly awkward, but “Passive,” is one of the band’s best efforts, and incidentally the only original on the album, enlisting the help of fellow industrial rock legend, Trent Reznor in the writing process. Additionally, Maynard’s choral rendition of Joni Mitchell’s “The Fiddle and the Drum,” is one of my favorite songs of all time. In short, while the album does land at the bottom of the list, it is by no means a bad album.

11. Money Shot (2015)Puscifer

   While this is, admittedly, the weakest of the three Puscifer LP’s, that certainly doesn’t make it unenjoyable by any means. Money Shot’s biggest sin is its inability to differentiate from the band’s previous two entries. While this is decidedly not a meaningful failure in the eyes of many fans, it does seem to run counter to Puscifers appealing quality. While Tool and APC have solidified styles, Puscifer is meant to be an outlet for Maynard to use his complete control to radically experiment with a multitude of new ideas. In this vein, I’m much quicker to forgive the outfit’s few misses on earlier projects than to excuse the safe tracklist of Money Shot.

   That being said, there’s plenty to enjoy here. “The Arsonist,” may be Puscifer’s best song, and “The Remedy,” brings back a bit of the cynicism and comedy of the band’s debut, a quality which is completely absent on the rest of this album. The instrumentation is more organic on this album, and performed quite well by all involved. All in all, Money Shot is an enjoyable effort, but Maynard seems to be in a bit of a creative rut throughout, unsurprising as this would be his 11th LP in just over 20 years. Fitting then, that this would be the last puscifer LP for awhile as MJK began to undertake the writing process of APC’s return in 2018.

10. Opiate (1992) – Tool

    There are very few bands with a stronger debut than Tool. The majority of the record is recorded live, but it still lands on this list because the tracks don’t appear anywhere else in the group’s discography. The live raw energy of a Tool show really comes through on this album as well, and it’s hard not to laugh when Maynard says “get that Bob Marley wannabe motherf***ker out of here.”

   There is plenty not to love here, on the other hand. The recordings, being live and probably cheap, lack the excellent production we would hear on later Tool releases. The tracklist itself is a bit of a weakness as well, mostly coming in around four to five minutes and missing much of the lyrical thoughtfulness we’ve come to expect from MJK. The closer and title track, however, remains one of my favorite Tool songs of all time and stands as the first chapter in the very long, open dialogue between Maynard and organized Christianity. This kind of bold, angry writing from such a young band, coupled with the jarring and mildly offensive cover, set a tone for a band and an artist that would speak their minds loudly in the years to come.

9. Conditions of My Parole (2011)Puscifer

   The second Puscifer release certainly doesn’t exceed its predecessor the way Thirteenth Step did, but it is nevertheless an enjoyable entry on this list. The tone is much closer to the larger body of MJK’s work, sacrificing some of the debut’s uniqueness for a more palatable, anthemic style. It did, however, retain much of what makes Puscifer such a unique side project.

   The changes are most notable on tracks like “Tiny Monsters,” and “Green Valley,” where the industrial instrumentation and drum heavy mix is still very present, but the lyricism and, even more so the vocal melodies, are much more in line with what longtime fans have come to expect. “Telling Ghosts,” could very easily have landed on an APC album. A few of the tracks can come off as somewhat forgettable, but the bulk of Conditions of My Parole is an absolute blast.

8. “V” Is For Vagina (2007)Puscifer

   With APC on hiatus and Tool stuck in a perpetual creative vortex, Maynard found himself sat idle for this first time in many years. This seemed to last all of a few days as V Is For Vagina was released just a year after the Tool record and Puscifer was born. While the band wouldn’t receive a lot of mainstream attention until their ’09 single, “Cuntry Boner,” longtime Maynard fans were greeted in ’07 by a total 180 degree turn with surprisingly enjoyable results.

   Puscifer’s sound embraces a form of industrial rock which was only slightly present in MJK’s previous work, and combines it with the kind of sardonic humor which Maynard is known for. Tracks like “Queen B,” and “Vagina Mine” may be somewhat jarring for Tool and APC fans, but they are very well crafted and infinitely listenable pieces of industrial rock, some of the best of the era. V Is For Vagina is a must listen for any and all MJK fans, especially considering his near total creative control over the project.

7. Eat the Elephant (2018)A Perfect Circle

   Perhaps the most divisive of Maynard’s albums among fans, Eat the Elephant marked the return of A Perfect Circle to prominence after a nearly 15 year hiatus which had been filled with three MJK releases under the Puscifer moniker. As a result, this album does often seem to capture more of Puscifer’s experimental nature than APC’s anthemic tendencies. It’s one of stranger albums on this list, but it’s one that I enjoyed quite a bit.

   Tracks like “Disillusioned” and the title track featured surprisingly soft piano passages while “The Doomed,” and my personal favorite, “TalkTalk,” fall much more in the vein of APC’s arena rock style. The latter half loses quite a bit of steam, but overall, Eat the Elephant is a respectable return to form for a group which seems to have matured quite a bit during its hiatus.

6. Meir De Noms (2000)A Perfect Circle

   Following the massive success of Tool, and during a very odd time for rock music in general, A Perfect Circle was formed by MJK and Billy Howerdel and released their debut album, Meir De Noms to massive critical and commercial success. The group’s sound was much more oriented toward arena and alternative rock, as apposed to the progressive and industrial styles that filled Tool projects.

   Meir De Noms contains the band’s best and most popular song by a mile in “Judith,” but also features classics like “The Hollow,” and “3 Libras.” Throughout, Howerdel’s guitar is anthemic and Josh Freese’s drumming is explosive. Maynard’s vocals are, in many ways, given more focus here than on previous Tool projects and his lyrics take a turn for the platitudinous in the best possible way. If the album has one strike against it, it’s a general lack of cohesion and clear vision. However, Meir De Noms is an excellent debut LP and did a great job of setting APC apart from Maynard’s other projects. 

5. Undertow (1993) – Tool

   Oh, how we all miss the days of two Tool releases in back to back years! Following the breakout success of the Opiate EP, Tool followed up with their first full length project, which improved on their previous work in virtually every way. This album features classics like “Prison Sex,” and “Swamp Song,” as well as Tool’s first major hit, “Sober.”

   Undertow is also where we hear Maynard beginning to come into his own as a writer and performer. His screams are powerful and his running vocal lines are nearly ethereal. The record is far better mixed and recorded, though still not as tight as later projects, and there’s a certain air of professionalism about Undertow that begins to make Tool feel like as special a band as they are. Overall, it’s an excellent studio debut and features some of the band’s best instrumentation and MJK’s best lyrics.

4. Thirteenth Step (2003)A Perfect Circle

   The highlight of APC’s catalog, Thirteenth Step is the Terminator 2 of alt-rock albums. Everything we loved from the debut is back, but better focused and turned up to 11. The non-cohesive but impressive tracklist of the debut is replaced with a moody, melodic piece of alt/arena rock with a clear and decisive aesthetic.

   Nearly every song on this album is fantastic, but a few of my favorites include, “Blue,” “The Outsider,” and “Pet, although my personal favorite from the album has to be the orchestral reimagining of Failure’s “The Nurse Who Loved Me.” The entire album is a testament to what can be accomplished by two especially creative artists when they mesh well and benefit from excellent work ethics. Thirteenth Step was APC’s second consecutive platinum album and it left the band with hits that are still popular today, 15 years later.

3. 10,000 Days (2006) – Tool

   For many Tool fans, this is the end all be all of Tool albums. In fact, I’d even call it my personal favorite, if I wasn’t speaking critically. Released in 2006 after a five year hiatus, 10,000 Days is the most recent Tool album to date, and it is, in some ways, the completion of an arc which began with ’96’s Aenima, that being the gradually increasing psychedelic and progressive influences into the band’s alt-metal roots. This album gives itself fully over to the prog side and it is from this that both its strengths and weaknesses are born.

   There isn’t a single track that clocks in under six minutes, save the “Blame Hoffman,” interlude which is nearly four minutes of purely atmospheric build up. “Rosetta Stoned,” is nearly 11 minutes of blistering rock music with some of the best drum work of Danny Carey’s career. The highlight of not only the album, but possibly Tool’s entire catalog, is the two part epic of “Wings for Marie,” and “10,000 Days,” which chronicles the passing of Maynard’s mother, and her ascension to heaven. It’s a piece of pure art which will leave goosebumps on the arms of anyone with a pulse.  My only hangup with this album, however, comes in the long and sometimes aimless interludes. Where earlier intros like “Parabol,” felt like a lingering shot of runners on their blocks before a race, a track like “Lipan Conjuring,” seems to spin its wheels and never get anywhere. Regardless, 10,000 Days is Tool’s most personal effort, and one of my all time favorite albums.

2. Ǽnima (1996)Tool

   When it came to deciding my top two for this list, I found the decision virtually impossible, and my opinion may even change day to day, but in the end, and through no fault of its own, Aenima lands at number two. Following the breakout success of Undertow, Aenima takes Tool’s hard rock sound and adds a multitude of brand new layers.

   “46 & 2,” and “Pushit,” deal in complex issues with a kind of reverence which was somewhat new to the band at this time. On the other hand, “Stinkfist,” “H.” and “Eulogy,” touch on serious moral issues with a cynical humor that only Maynard can execute this well. Beyond that, even, tracks like “Hooker With a Penis,” and the title track feature the kind of dark humor which would be largely absent from either of Tool’s post Aenima efforts. But it’s the closer, “Third Eye,” that sets a precedent for what we could expect in the future. Clocking in over 13 minutes and making the most of a couple hilarious Bill Hicks samples, the track is a sprawling, expansive end to an incredible album. Aenima is so very close to being perfect, but for me, it’s beat out ever so slightly by our number one.

1. Lateralus (2001)Tool

   It’s virtually impossible to name the best Tool album, let alone the best album from all of MJK’s catalog, but if it must be done, I simply can’t place anything above Lateralus. I tend to view Tool’s last three albums as a trilogy, following an especially gifted alt-metal four piece as they grow to an infamous, prog-metal juggernaut, and in that sense, the fast majority of the leg-work is done by Lateralus. With a tracklist featuring much longer tracks, including “Reflection,” which clears 11 minutes, lofty concepts, and a heavy influence on math and sequences, Tool challenged themselves in nearly ever conceivable way and they succeeded.

   Tracks like “Schism,” and “Ticks and Leaches,” showcase Tool’s remarkable ability to bend time signatures and tempos, “The Grudge,” and the title track feature Adam Jones’ gritty, powerful guitar work, and “Parabol,” and “Parabola,” is one of the best two part tracks of all time, slowly developing into explosive payoffs. Throughout Maynard’s voice is dynamic, ranging from guttural screams to droning, contained melodies with equal intensity and brilliance. His melodies are every single bit as well written as any riff or beat on the project, and his lyrics are meticulous, yet thematic. All of this is tied together by the legendary David Bottrill, who’s work in the producer’s chair elevates this record to all new heights. Put simply, Lateralus is a remarkable accomplishment for one the greatest bands of all time, and the crown jewel in MJK’s legendary catalog.