Slipknot, Tool, Nickelback + More Received Pandemic Assistance

Due to the impact of the coronavirus pandemic, the U.S. Small Business Administration and the Treasury enacted the Paycheck Protection Program (PPP) earlier this year to distribute loans to help businesses pay their staff. According to a new report that details which entities received loans, companies owned by Slipknot, Tool, Nickelback and other rock and metal bands benefited from the stimulus program.

“The PPP is providing much-needed relief to millions of American small businesses, supporting more than 51 million jobs and over 80 percent of all small business employees, who are the drivers of economic growth in our country,” Secretary Steven T. Mnuchin explained in the report.

A total of $660 billion was given in loans to 600,000 companies, some of which were owned by bands. All businesses listed in the report received a minimum of $150,000 in loans to support their employees, and the majority of the bands mentioned were in the $150,000 to $350,000 bracket.

Our friends at MetalSucks compiled a report of which band-owned companies were included — Slipknot, Tool, Nickelback, Papa Roach, Sevendust, Skillet, Switchfoot, Green Day, Pearl Jam, Weezer, Slightly Stoopid, Sammy Hagar, Tesla and Imagine Dragons. Disturbed Touring Inc. were also listed, but it is not confirmed whether the business is owned by the band or not.

Recipients of Paycheck Protection Program loans are eligible for forgiveness as long as the business uses the money to pay their employees the same they were prior to the pandemic.

30 Rock + Metal Bands Working on New Albums in Quarantine

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Tool: Adam Jones’ Gibson Signature Guitar ‘Now in Production’

A signature model Les Paul guitar from Tool shredder Adam Jones is on the way from Gibson Guitars. That means musicians looking to emulate the guitarist’s look and tone will soon have an easier job of reproducing the proficient rocker who’s amassed a career’s worth of memorable guitar riffs.

Tools fans and guitar aficionados got an inside look at the process last week when the band shared an image on social media that showed some of the instruments in production at a Gibson factory.

“It doesn’t get more official than this,” Tool relayed June 26 alongside an image of eight “AJ”-inscribed guitar bodies tucked away in wooden shelves on the production floor. (See the photo down toward the bottom of this post.) “[Adam Jones] Gibson Signature Guitars now in production!” the group said.

Longtime Tool fans well know Jones’ preference for the stunning Les Paul Silverburst, a version of the solid-body electric guitar that sports a metallic paint scheme. After all, the musician is said to own at least three of the vintage instruments — with a 1979 model being his main performance guitar.

Guitar-playing fans might also be aware that Gibson had earlier acknowledged the existence of an upcoming signature instrument for the Tool guitarist. Though it wasn’t ready for this year’s NAMM, the guitar maker confirmed they collaborated with Jones on the new artist model.

In a press release at the time, Gibson said the forthcoming guitar would replicate Jones’ “original 1979 Les Paul Custom Silverburst that can [be] seen live on stage with Adam today in support of their world tour and blockbuster new album Fear Inoculum. More details to come on this project later in 2020.”

Jones himself had also previously confirmed the guitar. The 2020 NAMM Show took place in January, so guitar-hungry Tool fans will likely be privy to further information about the Adam Jones model before the year is out.

See Adam Jones in Loudwire’s Top 66 Hard Rock + Metal Guitarists of All Time

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Hear a Tool-Endorsed Mashup of ‘Sober’ + Led Zeppelin’s ‘Kashmir’

Tool and Led Zeppelin come together in “Zober,” an arresting mash-up of the former’s “Sober” with the latter’s “Kashmir” put together by burgeoning alt-metal act Spirit Machines. Should one need any further impetus to listen, Tool themselves have given their approval to the rocking iteration.

On Monday (June 8), Tool shared a clip of the music video for the Spirit Machines mash-up via social media — see it down toward the bottom of this post. “A very tasty tribute of Led Zeppelin and Tool,” the band said of the song.

The video itself first emerged in April. In it, Spirit Machines lead vocalist Pepper Rose and her bandmates rock out to the dual-artist jam that alternates between sections of the Led Zeppelin and Tool numbers.

In the vid’s description, Spirit Machines discuss how the intensity of the Led Zeppelin track “earned the band the label ‘heavy metal,’ one which neither Plant nor Page liked. Still, they couldn’t deny its hypnotic effect, made by the drums playing a standard 4/4 beat and the guitar/strings following a 3/4 pattern.”

Of the Tool selection, the group continues, “There are intense debates about what the song ‘Sober’ by Tool means. Its most obvious interpretation is of one struggling through major addiction. It vividly paints the picture of substance abuse highs crashing into rock bottom lows.”

But don’t think that Spirit Machines only record mash-ups of tunes by other groups. The outfit also composes original material, and it just recently released a full-length album called Feel Again.

Spirit Machines, “Zober” (Led Zeppelin and Tool Mash-Up)

See Led Zeppelin in the 55 Best Metal Covers of Classic Rock Hits

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Tool Cancel 2020 Touring to Support Fans

Like many acts, Tool have had to closely monitor the Covid-19 situation as it pertains to the touring industry. They’ve now made the difficult decision to cancel their 2020 touring and have issued a statement on the matter.

It reads as follows:

As so many music lovers have come to realize over the last several weeks, there is no playbook that artists, promoters and venues can pull from in these unprecedented times.

When we played what would be our final show of 2020, March 11 at Portland’s Moda Center, we believed we would be back on the road sometime this Fall. As we worked towards that goal we’ve come to realize that there is absolutely no certainty in re-scheduling dates for this Fall or 2021. State and local ordinances vary widely and no one can predict when high capacity events will safely return.

At the same time that we were working to reschedule this tour, we read your messages. Messages of job losses, illness, emotional and financial pain. We could continue to postpone or reschedule dates for some time into 2021 but ethically, we do not think this is the right course of action. In our opinion, tying up our fans’ money for months, if not a full year, is unfair. With that in mind, we have made the very difficult decision to cancel the tour so we can help support the people who have supported us for years.

Please know, we want nothing more than to return to the road, to play these songs for you and to celebrate our shared recovery. When the time is right, we will do just that.

In the coming days you will receive an email from the ticketing service you purchased tickets through notifying you of the event cancellation and when to expect your refund.

Their spring trek was expected to kick off March 12 in Eugene, Oregon, with dates booked into early May, breaking for a couple of weeks before continuing with a second leg that stretched through June 23 in San Francisco. See all of the affected dates below.

Canceled 2020 Tool Tour Dates:

March 12 – Eugene, Ore. @ Matthew Knight Center
March 14 – Boise, Idaho @ Ford Idaho Center Arena
March 16 – Salt Lake City, Utah @ Maverik Center
April 16 – Miami, Fla. @ American Airlines Arena
April 17 – Orlando, Fla. @ Amway Center
April 19 – Tampa, Fla. @ Amalie Arena
April 21 – Charlotte, N.C. @ Spectrum Center
April 22 – Charlottesville, Va. @ John Paul Jones Arena
April 24 – Baltimore, Md. @ Royal Farms Arena
April 25 – Uniondale, N.Y. @ Nassau Veterans Memorial Coliseum
April 28 – Montreal, Quebec @ Bell Centre
April 29 – Quebec City, Quebec @ Videotron Centre
May 1 – Wilkes Barre, Pa. @ Mohegan Sun Arena
May 2 – Buffalo, N.Y. @ KeyBank Centre
May 4 – Toledo, Ohio @ Huntington Center
May 5 – Grand Rapids, Mich. @ Van Andel Arena
May 29 – Tacoma, Wash. @ Tacoma Dome
May 31 – Vancouver, British Columbia @ Rogers Arena
June 2 – Edmonton, Alberta @ Rogers Place
June 4 – Winnipeg, Manitoba @ Bell MTS Place
June 6 – Minneapolis, Minn. @ Target Center
June 7 – Sioux Falls, S.D. @ Denny Sanford Premier Center
June 9 – Madison, Wis. @ Kohl Center
June 10 – Moline, Ill. @ TaxSlayer Center
June 13 – St. Louis, Mo. @ Enterprise Center
June 16 – Wichita, Kan. @ INTRUST Bank Arena
June 17 – Oklahoma City, Okla. @ Chesapeake Energy Center
June 19 – Colorado Springs, Colo. @ Broadmoor World Arena
June 22 – Sacramento, Calif. @ Golden 1 Center
June 23 – San Francisco, Calif. @ Chase Center

Every Tool Song Ranked

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Justin Chancellor Has New Tool Riffs, Working on Multiple Collabs

The Covid-19 pandemic has given many musicians time to work on new music, but one of note is Tool bassist Justin Chancellor, who revealed that he’s been working up some new riffs for his band.

Speaking with Bass Player, Chancellor offered an update on what he’s been doing with his time of late, detailing various collaborations, but he ended his comments stating, “I’ve written some interesting riffs which will be reserved for Tool!”

That’s good news for Tool fans given the band’s penchant for perfection and lengthy delays between albums. Back in April, Tool drummer Danny Carey even suggested the possibility of writing a full Tool EP during quarantine. The band made a triumphant return in 2019 with their Fear Inoculum record and the idea that the group’s members are using this downtime to look ahead musically has to be viewed as a positive.

But it should be noted that Tool isn’t the only thing on Chancellor’s plate. The bassist also revealed, “I’m working on tracks for a second MTVoid album/EP with Peter Mohamed, who is in Poland. It looks like it will have some cool guest contributions. I’ve been adding bass lines to a project headed by Canadian director Jimmy Hayward, as well as bouncing some ideas around with Bauhaus’ Peter Murphy. After taking part in a Berklee Bass Department webinar recently, I’ve been invited to contribute to Steve Bailey and Victor Wooten’s upcoming Bass Extremes record. And last, but not least, I’ve written some interesting riffs which will be reserved for Tool!”

Tool recently postponed their spring North American tour and currently have no other dates on their tour schedule.

Top 66 Hard Rock + Metal Bassists of All-Time

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Tool’s Maynard James Keenan Says HIs Lyrics Aren’t ‘Prophetic’

Tool frontman Maynard James Keenan said it was “absurd” to suggest that the lyrics he wrote for his various projects were prophetic, and added that he’s only ever observed patterns of behavior throughout his life.

Keenan noted that fans found concepts that could be misconstrued as predictions on the latest Tool album, Fear Inoculum, and the recent A Perfect Circle LP, Eat the Elephant, and they might think the same about his upcoming Puscifer release.

“I feel like we’re going to go through a lot of changes,” Keenan told Apple Music in a new interview (via Kerrang!). “We’re going to go through a lot of growing pains – and not all of us are going to make it through those growing pains. That’s the hardest part, as a human being, to really grasp: that you might not be a part of what happens over the crest in that new valley. You just might not be there because you didn’t pay attention to the basics. You didn’t listen to the wind, you didn’t smell the air … simple things.”

He added that “people have, I guess, complimented or acknowledge, or they claim, that there’s a lot of prophetic things that came out on Eat the Elephant, prophetic things on Inoculum, probably prophetic things on [the new Puscifer album]. But it’s not really prophetic, it’s just understanding patterns and understanding human nature and where we’re going. Although they might seem specific, they’re not. They’re human experience.”

Keenan cited the example of his family enjoying food and drinks that he cultivated himself. “Last night we had pasta with tomatoes and basil from our garden, drinking our own wine,” he said. “It’s one of those things that didn’t happen overnight. We had to work for that. … I could claim, ‘Look how I was right 25 years ago when I planted that orchard and planted that garden.’ That’s absurd. I just like planting things.”

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Tool’s Adam Jones Shares ‘Pneuma’ Guitar Tutorial

While there are tons of guitar instructors and online videos that can teach you how to play your favorite songs, nothing really feels more authentic than getting a lesson from the mastermind behind the riffs. Tool‘s Adam Jones has shared a guitar tutorial for the Fear Inoculum track “Pneuma.”

According to his Instagram post, the section of the song he filmed himself playing was the last verse, and he had filmed it in his dressing room while the band were on tour. “Justin [Chancellor] stays on the original riff so there are some nice little conflicting moments between the 2 parts,” he added. “Not difficult to play but it’s very satisfying.”

Watch the video below.

“Pneuma” is the second track on Tool’s long-awaited August 2019 release Fear Inoculum, and it was finally debuted live for the first time in October. As per, it’s been played at every one of their shows ever since. The song has also become a popular meme on the Tool Reddit page.

Tool’s 2020 tour dates in April, May and June were unfortunately postponed due to the coronavirus. Stay tuned for the rescheduled itinerary.

Every Tool Song Ranked

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14 Years Ago: Tool Release ‘10,000 Days’

Progressive, psychedelic rock ninjas Tool didn’t take 10,000 days to complete the 2006 follow-up to Lateralus. But it sure felt that way for fans who were desperately waiting for the band’s fourth full-length release.

In actuality, more than 1,800 days passed between the two albums. The 10,000 Days title has been interpreted by most Tool philosophers to be a reference to the approximate period of time between singer Maynard James Keenan’s mom becoming incapacitated by a stroke when Maynard was 11 years old, and the time she died in June, 2003. Others have interpreted the title to be a reference to the amount of time it takes Saturn to revolve completely around the sun; this theory is legitimized by comments Keenan made about the philosophical concept of the Saturn return.

“That’s the time in your twenty eighth, twenty ninth year when you are presented the opportunity to transform from whatever your hang-ups were before to let the light of knowledge and experience lighten your load, so to speak and let go of old patterns and embrace a new life,��� he once explained to me. “It’s kind of the story of Noah, and the belly of the whale. You sink or swim at that point. And a lot of people don’t make it. Hendrix didn’t, Janis Joplin didn’t, John Bonham. Kurt Cobain didn’t quite make it past his Saturn Return. For me, starting to recognize those patterns, it was very important to start constructing songs that chronicled that process, hoping that my gift back would be to share that path and hope that I could help somebody get past that spot.”

Both theories make sense and probably hold relevance. Or maybe the album has nothing to do with either. Tool are the kind of elusive band that likes to play with people’s theories and expectations. One thing’s for sure: Tool released 10,000 Days in North America on May 2, 2006, and those who feared the band would stray from the crushing, experimental sounds of Lateralus breathed a smokey THC-laden sigh of relief as soon as they heard it. Like Lateralus, the album was an offbeat, angular excursion that required careful listening to digest. It featured a thrilling combination of songs that tumbled and ripped like a bag of nails in a whirring particle accelerator, and more atmospheric, psychedelic tracks that opened themselves to more introspective or confessional lyrics; in retrospect some turned out to be too confessional for the band’s enigmatic vocalist.

“I think probably the stupidest thing I could have done on 10,000 Days was put myself out there as much as I did with the tracks ‘Wings for Marie (Part 1)’ and ‘10,000 Days (Wings Part 2),’ Keenan said in an interview to promote the album. “I’ll never make that mistake again. It just took too much out of me – too much emotionally, mentally, physically – all those manifestations. Those songs were exploited and misconstrued, people were flippant and dismissive. I won’t be doing that anymore. And technically, ‘Wings’ is very difficult to pull off. If any one of us is off, it falls apart and makes that thing tragic, and that’s not a good song for me to have fall apart. It’s just too personal.”

While Keenan has a bittersweet relationship with some of the lyrics on 10,000 Days, he has no qualms with the mastery that went into the songwriting. Tool guitarist Adam Jones, drummer Danny Carey and bassist Justin Chancellor were obsessive about the music, approaching each song from a multitude of angles before committing to the final versions. Instead of going in with a clear idea of what kind of record they wanted to create, Tool shot from the hip, jamming in their practice space until they liked something they came up with; then they repeated the process ad infinitum.

“We had lots ideas from all the jams and crazy things that went on for Lateralus, so we had a few good starting points to go from,” Carey said. “We went into it thinking, ‘This is gonna be way easier for us than the last one,’ but in a lot of ways it wasn’t. We had all become bigger assholes, and everyone’s idiosyncrasies had become even more grinding on each other. But we were smarter and we knew that those are just our personalities, and at the same time we became more aware of how to give each other space and let them explore and do their own thing — not that it makes you any happier about it when it goes down.”

Going into 10,000 Days, Jones was wary about becoming too jaded. Sometimes he felt like Tool had developed the Midas touch and didn’t need to work obsessively in order to achieve their desired results. Whenever he felt that way, he made sure to put even more effort into the songs than he thought they needed just so couldn’t possibly sell the band short.

“I think the first song we wrote was ‘Rosetta Stoned,’ and that wasn’t easy to finish,” Jones said. “It involved a lot of trial and error and compromising with your band mates in the process of exploring every path that needed to be taken. I kind of compare it to painting. I take my time and try different colors. Or I may go back and sand a little bit to try to get a little bit of translucency. And sometimes the other guys were on the same page with me and sometimes they weren’t.”

Based on past experience, Keenan knew not to be in the studio when his band mates were in the mood to experiment. On prior albums he had tried writing to a tune that had been written only to have the basic rhythm change dramatically so by the time he was ready to perform what he had composed it no longer complimented the latest band arrangement. Keenan found the process endlessly frustrating, which is why, in 1999, he left Tool for a while to work on songs with his other band A Perfect Circle.

“You can tell which tracks on the album I was away for,” Keenan said. “They’re the ones that kind of meander off and go crazy and there are all these complicated turnarounds and loops. It requires some sort of form of psilocybin to enjoy – which is great. I love going away and coming back and having something that I get to enjoy because I wasn’t there in the kitchen helping cook it. I can just enjoy it on the table and go, ‘Oh, this is fun. This is tasty.’ And I can add my spice to it and take it to some other level or take it in a different direction lyrically or structurally.”

Keenan remains proud of all of the songs Tool wrote for 10,000 Days. His favorites to perform, however are the more straightforward rockers like “The Pot,” and “Jambi,” which reminded him of the raw, primal music the band wrote for their first two releases Opiate and Undertow before they developed the technical skill to play in unconventional meters, insert abrupt rhythmic shifts and explore ebb and flow dynamics and jagged, totally unexpected phrasing.

“I was kind of hoping the album would bring back some of the energy we expressed on our early records,” he says. “It was very difficult to get a groove going on some of 10,000 Days because everything was so complex and choppy and like running up an uneven set of stairs with a blindfold and a wooden leg. I wanted to do some of that because I really enjoy the challenge of a puzzle, and putting lyrics to those complex pieces. But I was also looking forward to doing something that would be like running down a set of stairs with my eyes closed and know that I’m gonna land on my feet.”

Creating 10,000 Days involved plenty of hunting and pecking and waiting for the right moment when inspiration hit and everything came together. Unfortunately, those lightning strikes were few and far between and the album was created in fits and starts, like most of Tool’s best material.

“When you finally reach the finish line and the floodgates open there’s such a sense of relief,” Jones said. “And when you’re done, you’re going, “Okay, I wish next time when we start working on the new record we could just pick up where we left off, right at this exact moment.’ But it never works t hat way, and if it did, you’d just wind up redoing the same thing, which we never want to do.”

10,000 Days debuted at No. 1 on the Billboard 200 chart, selling 564,000 copies during its first week. On June 2, 2006, the album was certified platinum by the RIAA.

“Having another plaque is nice I guess, but the real thrill of the record comes from the fact that we were true to these musical, magical moments that sometimes happen when the four of us get into a room together,” Carey said. “It’s unexplainable. I don’t know how that vibe happens, but it’s Tool and there’s nothing else that will ever be Tool. And that’s something I’ll always be proud of.”

Loudwire contributor Jon Wiederhorn is the author of Raising Hell: Backstage Tales From the Lives of Metal Legends, co-author of Louder Than Hell: The Definitive Oral History of Metal, as well as the co-author of Scott Ian’s autobiography, I’m the Man: The Story of That Guy From Anthrax, and Al Jourgensen’s autobiography, Ministry: The Lost Gospels According to Al Jourgensen and the Agnostic Front book My Riot! Grit, Guts and Glory.

Every Tool Song Ranked

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Tony Levin Still Hopes King Crimson Will Tour With Tool

King Crimson was in talks for another tour with Tool before everything fell apart – but not for the reason you might think. This was long before the coronavirus quarantine, bassist Tony Levin notes.

The shelved dates would have been their first together since August 2001. King Crimson was touring back then in support of 2000’s The ConstruKction of Light, which didn’t include Levin. Tool had just released their chart-topping Lateralus album.

Instead, King Crimson announced 2020’s We Paint Electric Rhythm Colour tour with the Zappa Band, a group of Frank Zappa friends and alumni who are performing with the approval of the Zappa Trust. Those dates were set to begin June 4 in Clearwater, Fla., and continue through July 11 at the Ottawa Blues Festival – until the COVID-19 outbreak changed those plans, too.

Levin talks about the prospect of shared dates with Tool in this exclusive UCR interview, as well as his own career connections with Zappa.

How did the idea for touring with the Zappa Band come about?

That’s a really good question, and unfortunately I’m not the guy with the best answer to it. We were considering doing a joint tour with Tool. The other guys in the band know them well — Crimson toured with Tool in an incarnation of the band I wasn’t involved in. They know them and musically like them and like them personally, so there was talk of touring jointly this coming summer with Tool. But it fell through in what I’d call the last minute, which was way back last December or January. The reality of booking a summer tour with those kind of bands is you need to book it way ahead of time. I think the management found itself unable to get the bookings to do King Crimson the way we had done where we were the only band. I don’t know whether they went looking or had a list of certain groups, but they eventually decided to join up with the Zappa Band. That came about after the Tool tour fell through, and I don’t even know why that happened. [Laughs.]

I really hope that Tool tour happens at some point, once things get back to normal. Are you a Tool fan?

You never know. It would be very interesting. I like their music a lot. I’m not as familiar with it as the other guys are. I’m sorry their tour fell through, too. I’m sure Tool will get going and make up that tour somewhere. And a King Crimson/Tool tour, I think there’s a good chance of it happening, depending on why it fell through.

Watch Tony Levin Perform ‘Starless’ With King Crimson

What’s your relationship with the Zappa catalog?

I don’t have much to contribute. There are many subjects I’m not worthy of delving deep into. My experience with Zappa music is not having been a fan of it, but I played with several ex-members of his band and had a great time with that. The first band I was in, really, when I moved to New York [in 1970] was with three guys from the Mothers [of Invention]: Don Preston, the keyboard player whom I’m still friends with; drummer Billy Mundi; and [singer] Ray Collins. We formed a quartet and weren’t playing Zappa music at all. It was Don Preston music — very interesting and quite inspired by Frank Zappa. The group was called Aha, the Attack of the Green Slime Beast. The name of the band was longer than our career!

What a name to go out with, though. 

Great name. Good band, but who knows why [it didn’t last]. As I remember, both Ray and Billy Mundi decided to move back to the West Coast, and I ended up on the East Coast. That’s my foggy memory of this time back in the ’70s. While I’m on the subject of how different things were now than they are now: When we formed, we rehearsed a great deal at somebody’s house in [in New York]. Record companies heard that we were rehearsing and wanted to come by and hear it, and they actually offered us record deals and money. Stop to think how different that is than nowadays. I knew nothing about it, but the other guys were saying, “No, we don’t want to take that record deal. We can do better!” That’s pretty different from nowadays, also.

When Tool Dressed Up as Led Zeppelin to Cover ‘No Quarter’

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What Happened to That Nine Inch Nails / Tool / Pantera Supergroup?

What ever happened to Tapeworm, the supergroup featuring members of Nine Inch Nails, Tool and Pantera? 25 years after it was originally proposed, former NIN keyboardist Charlie Clouser reveals exactly why the project never materialized.

Metal Hammer caught up with Clouser to get the scoop on Tapeworm, which ended up taking a back seat to Nine Inch Nails once the band started focusing their energy on writing The Fragile. The lineup of vocalists for Tapeworm would have been epic, including Philip Anselmo, Maynard James Keenan, Trent Reznor, Killing Joke’s Jaz Coleman, Depeche Mode’s Dave Gahan and Atari Teenage Riot’s Alec Empire.

“Maybe we were aiming way too high,” Clouser admits. The idea of these great vocalists trading verses with Trent excited us hugely … I mean, you see it on paper and it does look really cool. I can see why people were like, ‘Just release it, man!’ but it’s really not as simple as that.”

Clouser explains that the Tapeworm material came from unused NIN ideas. “[Trent Reznor] told Danny [Lohner, NIN bassist] and I that any ideas we had that wouldn’t work for Nails could be expanded on by us for our own project, and he’d put the results out on Nothing Records. It felt like a win-win.”

However, when the process for The Fragile began, Tapeworm fizzled out while Reznor took one idea for his main outlet. “I had a drum loop for a song that I was working on for Tapeworm and Trent really liked it. He took it away and it became the genesis for the song ‘Starfuckers, Inc.,’ which is a far bigger deal, really.”

Maynard Keenan also used some unreleased Tapeworm ideas, which became A Perfect Circle’s “Passive” and Puscifer’s “Potions (Deliverance Mix).”

“It’s almost cooler that we never did release it,” Clouser concludes. “It’s become this mythical thing now. There will always be an air of intrigue and mystery around it. Not many albums you’ve heard have that.”

The 66 Best Rock Songs of the Decade: 2010 – 2019

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Could Tool Record New EP During COVID-19 Lockdown?

Tool drummer Danny Carey said he hoped the coronavirus pandemic’s widespread lockdown could result in the making of a new EP by the band.

Their latest album, last year’s Fear Inoculum, came 13 years after its predecessor, 10,000 Days. One of several reasons it took them so long was that they had a number of distractions, including personal creative projects, that required their attention. However, Carey suggested that the current lockdown situation eliminates many of those distractions – especially since the band is supposed to be on tour right now.

“I’m hoping during this downtime, as soon as we’re able, maybe we’ll get together – Justin and I and Adam,” Carey said during a music-college webinar that also included bandmates bassist Justin Chancellor and guitarist Adam Jones (via MusicRadar). “Maybe start hashing out some new Tool stuff in the meantime, maybe write another EP since we’re down and we can’t do anything else. I’m just kind of waiting around, but that’s all I’ve really got going on.”

In the years leading up to Fear Inocolum’s arrival, frontman Maynard James Keenan explained that another reason for the delay was the way in which Jones, Chancellor and Carey liked to work. “It’s a very tedious, long process,” he said in 2017. “And they’re always going back over things and questioning what they did and stepping back and going back farther and going forward and, in a way, they’re laying a foundation, they’re putting in the footings for a house.”

Keenan noted that he “can’t write melodies until the footings are in place. I can’t write words until the melodies are in place. I can’t build walls and then start decorating this place until the foundation is in place. … If they keep changing the foundation, changing the footings, the melodies change, and then the story, of course, isn’t getting written.”

Adding that he didn’t know if that was a good or bad way of working, he remarked, “It’s just their process.”

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Every Tool Song Ranked

When Tool released Opiate in 1992, few could guess the band would achieve cult status through songs celebrating spirituality, sacred geometry, gallows humor and an unbridled disgust for humanity.

Having released just over 50 songs over three decades, Tool’s discography has always given preference to quality over quantity, inviting fans to dive down the wormhole of Maynard James Keenan‘s highly conceptualized and interpretive lyrics. Whether writing ballads for the apocalypse or philosophical guides for the existentialist, Tool’s music drills deep into the listener, heightening their awareness of the world via the sonic equivalent of an acid trip.

Venturing through Tool’s rich catalogue, we’ve put together our list of Every Tool Song Ranked from least to most essential. Check it out in the gallery below.

Entries by: Chad Childers, Graham Hartmann, Katy Irizarry, Rae Lemeshow-Barooshian

Every Tool Song Ranked

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