The wait is nearly over: Tool’s long-awaited new album will be released on August 30th, 2019.

The band confirmed the news during their concert in Birmingham, Alabama on Tuesday night. According to fans on the ground, a video screen flashed the date “August 30th” during the set’s intermission. Frontman Maynard James Keenan then encouraged fans to share the news via social media, saying, “Alright, everyone, take out your phones, security stand down, and let these fuckers do whatever it is with their phones.”

The as-yet-untitled LP marks Tool’s first release since 10,000 Days in 2006. During their tour kick-off at Welcome to Rockville Festival on Sunday night, the band debuted two new songs: “Descending” and “Invincible”.

Tool will remain on the road through mid-May. You can enter to win tickets to the concert of your choice. They’re also available for purchase here.

Tool confirm release date for long-awaited new album

Written By Braddon S. Williams

Tool: Undertow

Tool released their debut studio album, the outstanding Undertow, in 1993. This set in motion a career of enigmatic mystery, profound lyrical and artistic content, and just staggering musical accomplishment.

Tool put out music at their own pace (currently it has been 13 years since their last album), rarely do press, never appear in videos, and in the case of lead singer Maynard James Keenan, are even absent from the stage for some live performances. Yet somehow they increase in popularity despite obviously not playing the celebrity game.

Perhaps it is the combination of the unknown and the deliberate nonconformity mixed with the intensity of the music that sets Tool apart.

When Undertow came out, I immediately identified with the progressive elements of the music and with Keenan’s cryptic lyrics. Songs like Sober and Prison Sex were amazing with or without those creepily effective videos, Bottom benefited from the intense spoken word passage from Henry Rollins, and Flood, Swamp Song, Intolerance, and Crawl Away were all winners, too. The final track, Disgustipated, was a tripped out sonic experience (with or without the aid of mind altering substances).

I salute Tool and their overall creativity. They have never played it safe and I doubt they ever will.

https://youtu.be/kOvwc8_QXiY

Influences And Recollections of a Musical Mind

Tool’s Ænima, released in 1996, was one of those albums that stood so far out of the ordinary in respect to everything else that was going on at that time. It was basically its own genre, a blend of progressive metal that existed in defiance of any and all trends. The ’90’s were pretty much known for grunge and all of its imitators, but I was fascinated by bands like Tool who created a mystique, not appearing in videos or saturating their existence in the press. Less was more in terms of their image, but their music spoke loud and clear, and it was a revelation. The title track, spelled Ænema, along with Eulogy, Forty Six & 2, Jimmy, and the massive closing song, Third Eye, are among my personal favorites. Maynard James Keenan’s voice and vocals are spellbinding, and Danny Carey’s drumming is astonishing. Tool play by their own rules, and the faithful have been waiting for a decade for some new music. I have no doubts that when it comes, it will continue to influence and mesmerize!

Written By Braddon S. Williams

Influences And Recollections of a Musical Mind

meshuggah2

On this date in history, 9/8/2001, Tool and Meshuggah brought scorched earth, “take no prisoners” Math Metal to my favorite outdoor venue, Deer Creek. Meshuggah began the proceedings with a relentless display of their perfected brand of tricky time signatures with punishing precision.  Jens Kidman howled and barked out his impassioned vocals over a variety of battering ram rhythms, while Fredrik Thordendal executed scalpel sharp lead guitar work like a homicidal, über-angry Allan Holdsworth.

 

Tool proved to be the perfect counterpart to Meshuggah’s brutal devastation, providing a more artistic template to lacerate the willing and devoted fans on multiple levels of sight and sound.

Tool were supporting their Lateralus album, only their third full length record, but due to the abnormally long period of time between their releases, it had hit the top of the charts upon release.

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This was a visually impressive experience, complete with acrobatic performers suspended high above the stage, disturbing and provocative rear screen projections, and an innovative light show that was almost a fifth member of the band. Singer Maynard James Keenan never appeared directly on stage, instead showing up as a silhouette created by the impressive lighting. His vocals were fantastic and made up for his lack of physical presence.

Danny Carey’s drumming was simply phenomenal, propelling the music through all the nuances and harrowing intensity that are Tool trademarks. This show was a pairing of 2 titans of progressive metal at its finest.

Written By Braddon S. Williams aka The Concert Critic

 

On This Date in History

On this date in history, 7/16/1998, I began my 18 year streak of all day metal festivals with my very first Ozzfest, at the fun and fabulous Deer Creek. I would be at every Ozzfest for the next 10 years until that festival stopped traveling, followed by all 8 of the Mayhem tours.

Ozzfest ’98 featured Ozzy Osbourne, Tool, Megadeth, Limp Bizkit, Soulfly, Sevendust, Coal Chamber, Incubus, Motörhead, Snot, Melvins, Monster Voodoo Machine, Life Of Agony, Ultraspank, Kilgore, and System Of A Down.

I was a rookie and I made a huge rookie mistake. I neglected to watch any of the second stage bands on this day, foolishly squandering my first shot at System Of A Down, Melvins, and the legendary Motörhead! I did, however, witness all the bands on the main stage and most of those performances ranged from pretty good to absolutely earth shaking (during Tool’s set, quite literally!).

Incubus started the festivities with a solid set. Brandon Boyd’s vocals were quite excellent and I enjoyed their time on stage.

Coal Chamber were next, kind of Marilyn Manson-light, but Dez Fafara hadn’t gained the power he would later weild so effectively with DevilDriver. Still, a formidable performance by an underrated band.

Sevendust were next, and I thought they were fantastic. Lajon Witherspoon’s vocals were particularly amazing and the band’s sound and energy stood out in a lineup of very solid bands.

Soulfly, the band that Max Cavalera put together following his departure from Sepultura, were probably the heaviest band of the day, and also brought their distinctive blend of Brazilian percussion to mix with their brutal grooves.

Limp Bizkit began their show by emerging from an enormous toilet bowl. Considering that their career eventually was flushed down that proverbial toilet, this was quite poetic and prophetic. The haters can say what they want to say, but back then Fred Durst and Wes Borland had concocted a sound and a stage show that got the crowds bouncing and producing an insane amount of energy. Megadeth brought their meticulous, surgically deadly riffing and Dave Mustaine’s patented sneering vocals along with about an hour of classic Mega-Dave songs in a fierce set that brought the crowd to the brink of the sonic devastation that awaited us.

I had heard the stories about how the crowd had started a “sod war” during Pantera’s headlining set the year before, and had witnessed a similar act of lawn massacre during a Ministry performance in 1992, but nothing prepared me for what was about to happen during Tool’s show stealing set.

As soon as Maynard James Keenan took the stage clad in an evangelist’s suit, accompanied by the hypnotic maelstrom of Tool’s sound, the carnage was instantaneous.

The lawn never had a chance, and the air was literally thick with flying chunks of earth, sod, grass, drink cups and various other items of debris. It was glorious, terrifying, hilarious, and unstoppable. Tool was so intense, it was as if they were so in the zone that they were oblivious to the World War III scenario unfolding up on the lawn.

As all good things must eventually end, Tool finally concluded their portion of the show and the spell was broken.

Ozzy proceeded with a killer set played by a stellar band (Ozzy always has the cream of the crop in his band, though) featuring Joe Holmes on lead guitar. Ozzy’s set was preceded by a wickedly funny filmed segment that put the exhausted crowd in a jolly mood (by metal crowd standards) and the Prince Of Darkness delivered a powerful concert closer that guaranteed I would continue this activity for 18 years running. Still ready to begin a new streak. The time is right for a brand new accomplishment!

Written By Braddon S. Williams AKA The Concert Critic

On this date in history

tool-album-beavis-and-butthead-meme

Hello, and welcome to this week’s edition of “What The Fuck Is Tool Doing?” Last week we heard that Tool was releasing a double album called Decem, only for Maynard James Keenan to call the rumors dumb. This week’s episode revolves around a longer story published on the band’s website, written by webmaster Blair McKenzie Blake who spent a day with drummer Danny Carey.

While the whole story isn’t exactly packed with news, there are two sections that prove interesting. The first section discusses the new album, which apparently the band is grinding away at.

However, the next day while having lunch at “Bootleggers” – a ‘Sinatra’s Way’ Italian restaurant on the Vegas south strip – I casually asked about the status of the new album (Namely, how the writing/arranging sessions were going?) – to which he replied, “Good!” While enjoying his “House Specialty” lasagna to the sounds of an excellent pianist (and master harpist, Mariano Gonzalez!), he added that they were very close to knocking out another tune, and that as soon as it was finished, they would send a recording of it to Maynard.

When I asked if this was the song with the REALLY unique time signatures, he told me that they had already finished the music on that one. Okay, admittedly, not exactly stop the press news, but what can I say, other than that they are still grinding away on new material four days a week, and would be back at it later in the week (once Danny returned from the Las Vegas glitz, Justin from celebrating his wedding anniversary and Shelee’s birthday in palm-swaying Hawaii, and Adam hunting for glossy treasures at Comic-Con 2016 in San Diego).

The second, possibly less important section, discusses “something happening after the record was released.” Whether that “something” is a massive tour, or Carrey revealing he’s a transdimensional demon, or Keenan revealing he’s actually two midgets, or another album, is entirely mysterious.

I almost forgot one last item. On second thought, why even bother to bring it up? Oh, what the hell… Danny did mention the possibility of something happening after the record was released, but that this was definitely NOT a sure thing at this point. Since this involves something that may or may not even happen, I won’t (if fact, can’t) expand on it – only to say that: if it does happen, now that would be stop the press news!

Given Tool’s reputation, who knows if all this is just bullshit and the album will come out next week.

[via The PRP]

 

What do you think? Leave a comment.

 

TOOL Is Grinding Away “Four Days A Week” On The Record, Have Potentially Big News