The quizzically radio-friendly group, whose most recent album 10,000 Days continued an advancement in experimentation and the use of conflicting time signatures, played in the midst of seven gigantic screens that displayed correlating music videos or similarly outlandish and abstract images. Coupling that with the aforementioned lasers, which were beamed throughout the Sears Centre of Hoffman Estates at nearly every angle, Tool tore through a nearly two-hour set that primarily featured last spring’s exceptional album.
The group did play a few throwbacks in the form of Aenima’s “Stinkfist” and “Forty-six and 2” as well as “Schism” from Lateralus. However, outside of “Schism,” which is in contention to be considered the band’s finest creation, Tool was at its best when bringing to life the mathy, palm-muted rock riffs – full of guitarist Adam Jones’ hammer-ons, pull-offs, and triplets – and oft-independent rhythms of bassist Justin Chancellor, drummer Danny Carey, and singer Maynard James Keenan that are prevalent on 10,000 Days.
Psychedelic breakdowns permeated the evening, and the four-piece outfit often flawlessly executed its sonic manipulations – most notably in Chancellor’s wailing feedback melody from “Lost Keys” and Keenan’s subsequent gibberish effects from quasi-masterpiece “Rosetta Stoned.”
Still, the finest moment came in the set’s penultimate presentation. It was then that drummer Cody Willis of Big Business, the spastic rock openers that are highlighted by frenzied beats and bassist Jared Warren’s thunderous distortion and epic howls, joined Tool for a tom-heavy collaboration with Carey in which both traded extravagant fills.
And though Big Business, which was featured in ALARM’s spring issue, couldn’t quite fill the arena with its huge sound, punctual attendees were treated to the group’s uncompromising style. The duo, joined by a rather ancillary guitarist for touring purposes, also saved its best (“Grounds for Divorce”) for second to last.
– Scott Morrow
Tool: “Vicarious”
hii17sjSwfA