Professor Metal, a new comedy starring Professor Oglaf in which he reviews Tools new album Fear Inoculum is quite hilarious as it boarders on trolling both band and fans alike.
Tools new album Fear Inoculum is out today and the band has released Tour dates on their social media pages.
Tickets are on-sale Sept. 6 at 10 am local time, with a limited number of tickets will be available to Tool Army members on Sept. 4. Tool Army information, as well as VIP package details, can be found via Toolband.com.
October 13 Sacramento, CA Aftershock Festival
October 15 Denver, CO Pepsi Center
October 18 Salt Lake City, UT Vivint Smart Home Arena
October 20 Los Angeles, CA Staples Center
October 21 Los Angeles, CA Staples Center
October 23 Glendale, AZ Gila River Arena
October 25 San Antonio, TX AT&T Center
October 27 Houston, TX Toyota Center
October 29 Tulsa, OK BOK Center
October 31 Milwaukee, WI Fiserv Forum
November 2 Indianapolis, IN Banker’s Life Fieldhouse
November 3 Chicago, IL United Center
November 5 Cincinnati, OH US Bank Arena
November 6 Cleveland, OH Rocket Mortgage Fieldhouse
November 8 Pittsburgh, PA PPG Paints Arena
November 9 Detroit, MI Little Caesars Arena
November 11 Toronto, ON Scotiabank Arena
November 12 Toronto, ON Scotiabank Arena
November 14 Boston, MA TD Garden
November 16 Newark, NJ Prudential Center
November 18 Philadelphia, PA Wells Fargo Center
November 19 Brooklyn, NY Barclay’s Center
November 21 Uncasville, CT Mohegan Sun Casino Arena
November 22 Atlantic City, NJ Boardwalk Hall
November 24 Raleigh, NC PNC Arena
November 25 Washington, DC Capitol One Arena
Hear “Fear Inoculum” below, pre-order the album here:
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.
Written By Braddon S. Williams
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.
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
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.
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