#disgustipated - tool

[ask-sebastian]

I take it you are a Tool fan. 🤘

[swingonasp1ral]

this is necessary

this is necessary

life feeds on life

feeds on life

feeds on life

feeds on

this is necessary.

~disgustipated

the holocaust of the carrots

[beulf]

liking a guy got me sitting in bed listening to rhythmic gunshot sounds and then 9 minutes of cricket chirping drones, repeatedly

[gravesisters]

[cia-mia-00]

THIS IS NECESSARY

Guys you should totally listen to TOOL

Uncensored & alternate versions under cut!

[vocalux]

Hi! Same anon as the one who requested the song ID, I just looked through your blog, and I think Mus-ID is actually the term I was looking for! Sorry about that, I'm kind of new with terms, I hope you can still do the request

— MusiDisgustipated [ Musi-Disgustipated ]

when an individual feels a connection to the music Disgustipated by TOOL !

and don ' t worry , i don ' t mind " term change " halfway through !

[diceriadelluntore]

Storia di Musica #287 - Tool, Lateralus, 2001

Ho scelto di dedicare la serie di album di Agosto ad un pensiero che nella musica popolare (nel senso più puro del termine) spesso non è il primo sentimento che passa per la testa dell’ascoltatore. Sto parlando di album “impegnativi”, che capisco benissimo che come concetto è qualcosa di aleatorio, ma che nella mia idea di scelte questa volta vogliono rappresentare un certo stato dell’arte dal punto di vista tecnico musicale, e spero che da queste scelte ne possa scaturire un bel dibattito al riguardo. Il primo di oggi ci porta negli Stati Uniti ad inizio anni ’80. Maynard James Keenan nato a Ravenna (quella in Ohio) e che era compagno di corso all’Università di Grand Rapids con il padre di una mia pen friend americana, è un tipo dai mille interessi, fa due anni a West Point, la prestigiosa accademia militare americana. Li con il termine tool si intende un cadetto che segue senza nessuna esitazione qualsiasi tipo di ordine dai superiori, che spesso li usavano anche per episodi di nonnismo. Scelse Tool come nome della band che fondò nel 1990 per il principio che avrebbe fatto sempre e solo quello che gli piaceva. Inizia così il percorso di una delle più incredibili realtà musicali degli ultimi anni, capaci di rinnovare e sperimentare almeno tre generi: l’heavy metal, il progressive e la musica sperimentale. Insieme al chitarrista Adam Jones (che è anche un grande esperto di effetti visuali e scenici, e ha lavorato in pellicole come Jurassic Park), dal bassista Paul D'Amour (prima) e in seguito dal britannico Justin Chancellor (dal 1995) e dal batterista Danny Carey (quest’ultimo uno dei più incredibili e bravi batteristi di tutti i tempi) pubblica Undertow nel 1993, che pur rimanendo in un solco heavy metal elettrico ha già degli spunti interessanti, si prendano come riferimento le adesso iconiche Prison Sex e la lunghissima Disgustipated. Nel 1996 l’album della consacrazione. Ænima è infatti un disco tutto giocato sul concetto della catarsi junghiana (ascoltate la lunga Third Eye o andatevi a rileggervi la storia che riguarda questo disco) ma che ha ancora momenti di puro e durissimo hard rock (la seminale Stinkfist) e rock progressive del ventunesimo secolo (H., Forty Six & 2). Per problemi con la casa discografica passeranno oltre 5 anni per il lavoro successivo. Keenan tra l’altro non si perde d’animo ed inizia il suo progetto parallelo degli A Perfect Circle, dove cura più la sua anima heavy metal, ottenendo tra l’altro grande successo. Nel 2001, dopo aver per mesi parlato di un album intitolato Systema Encéphale, il 15 maggio esce Lateralus. Il titolo è un riferimento sia al muscolo vasto laterale (Vastus Lateralis che ci permette di piegare le gambe) sia al pensiero laterale, definizione dello psicologo Edward De Bono, che individua soluzioni non di logica sequenziale, risolvendo il problema non partendo dalle considerazioni che sembrano più ovvie, ma cercando punti di vista alternativi per trovare la soluzione. Le fotografie interne fanno capire ancora più a fondo il percorso musicale di questo album: un viaggio nella mente umana, nelle sue passioni, nelle più profonde fratture, in cerca di risposte, anche di tipo politico, religioso, spirituale con il chiaro intento di arrivare alla perfezione, quindi ad un incontro con la divinità. Musicalmente è come proiettare i Van Der Graaf Generator o i King Crimson, scontratisi con il grunge e la musica industriale, negli anni 2000. Ne esce fuori un capolavoro assoluto, dalle infinite sfaccettature musicali.

The Grudge parla del mito di Saturno che divora i suoi figli, ed è una scalata strumentale incredibile, spezzata da un urlo di Keenan che supera i 20 secondi, citando anche La Lettera Scarlatta, romanzo del 1850 di Nathalien Hawthorne. The Patient inizia lenta e sognante ma poi finisce in una contorsione ipnotica. Schism, uno dei capolavori del disco (e Grammy per la miglior canzone metal del 2002, sebbene sia una costrizione bella e buona definirla tale), cambia il ritmo per 47 volte, inizia con un tempo di 12/8, poi passa prima a 7/8 e poi a 5/8, e parlando di scismi religiosi, effettua musicalmente uno scisma metrico (che geni…). Ticks & Leeches è uno dei più incredibili brani di batteria, grazie anche alla maestria diabolica di Carey, un gigante dello strumento, e che è rabbiosa e allucinata nel canto di Keenan, che dedica la canzone a tutti coloro gli hanno succhiato il sangue dalle vene. Mantra è uno di quei giochi musicali per cui sono famosi: è la registrazione lavorata come si deve dei miagolii di uno dei suoi gatti siamesi (i primi ascolti ipotizzavano fosse una donna che in trance dicesse I Love You). Parabol\Parabola sono due brani che si fondono in uno, con una natura da cantata funebre tibetana, mistica e struggente ed una seconda di rock maestoso. La triade finale che è da considerarsi come una super suite in tre parti è formata dalle splendide Reflection, Triad e da Faaip de Oiad (che in lingua enochiana, la lingua degli angeli, significa Visione di Dio) che sono lunghe, ipnotiche e dimostrano la maestria assoluta di questi musicisti (i duelli ritmici basso batteria, la chitarra affilata come una lama di Jones, un fenomeno). Menzione speciale però ha Lateralus, una canzone che ha affascinato i fan sul significato ma soprattutto per la sua struttura: Keenan canta parole le cui sillabe seguono la successione di Fibonacci (1,1,3,5,8…), per una musica ed un testo che non seguono un andamento lineare, ma a spirale (la canzone finisce con i versi Spiral out, keep going…). La copertina, realizzata da Alex Grey, è composta da strati trasparenti con la figura di un busto umano, e man mano che si sfogliano le pagine si penetra al suo interno così da vedere in successione i muscoli, lo scheletro, gli organi ed infine, voltata la penultima pagina, si trova la chiave di accesso al mondo spirituale, nell'ultimo strato è nascosta nel cervello la parola "GOD". Quella che ho postato all'inizio è la prima ristampa europea del 2003, molto più bella della prima in assoluto, che per dovere di cronaca posto adesso:

La copertina Digitale è ancora più bella, e da collezione è il picture disc olografico per l’edizione celebrativa del 2005. Dopo altri 5 anni ritorneranno con 10.000 days, che è molto meno fantasioso e mistico, ma che mantiene un ottimo livello generale. Ne passeranno addirittura 13, quando nel 2019 uscirà Fear Inoculum (da cui dovete andare ad ascoltare 7empest che racchiude un po’ l’essenza della musica Tool) la cui title track da 10 minuti e 21 secondi è citata nel Guinness dei primati per la canzone più lunga mai entrata nella classifica di Billboard. Tutta questa carne al fuoco tra musiche elaborate, testi dalle mille citazioni e dai mille simbolismi, le grafiche dark e potentissime dei dischi (tra l’altro, per riallacciarci alle storie di Luglio, le prime copie di Undertow furono censurate per le foto di donne nude che c’erano a corredo dell’album), sono facili da spiegare le tentazioni dei più maliziosi alle immancabili allusioni magiche ed occulte; resta il fatto che sono uno dei più grandi e riusciti tentativi di modernizzare la musica contemporanea degli ultimi 30 anni. E come sempre possono piacere o meno, ma resta la novità stilistica dei linguaggi e soprattutto della musica. Ascoltateli. Ne vale la pena.

[gorebrain]

Undertow

Tool - 1993 - progressive metal

Intolerance: 8

Prison Sex: 10

Sober: 9

Bottom: 10

Crawl Away: 8

Swamp Song: 8

Undertow: 10

4°: 9

Flood: 8

Disgustipated: N/A

9 / 10

I feel like my bias is showing a bit, but this is my personal opinion, not the people’s one, so it might seem too high for you.

I genuinely think Tool are one of the most talented bands I’ve listened to. I like other bands, but there’s liking a band because I just like it, and liking a band because it’s just pure talent.

I usually get the total score of the album by getting the average of each score, but I wracked my brain to see which songs deserved a score that’ll at least get it a nine. Is it a bit unfair to actually try to bunk songs up? Yes. Am I a respected professional in the music industry? No, so who cares.

This album has a foreboding, dark album cover. It lacks the artist name or the album name, so you’re just left to digest the image. I think it’s a great introduction to the album as it deals with dark themes, like sexual assault, abusers becoming the abuser, addiction and maybe even religion. All subjects handled well. They’re all tasteful, all pieces of art.

Something about Tool I like is how they don’t feel edgy when tackling these topics. Admittedly when it comes to extreme metal, subjects like rape are used as a tactic to seem more offensive than what you listened to last. They aren’t handled with tact and are used as a shock factor with little regard or empathy. Maybe the comparison isn’t fair because Tool isn’t extreme metal, but God it’s what I’ve grown accustomed to and I’m bored of it. I can appreciate how even swearing feels tasteful, even when it’s talking about actual shit. Perhaps it’s because of the actual musical talent that Tool presents. Tool could punch the microphone and I’d be here writing about how much I enjoyed it.

I love this album, it’s truly art and art is best when it’s making you feel.

Person thoughts of each song below the cut:

Now I’ve been enjoying this album repeatedly, so these were written without it being my first or second time listening. I had a lot longer to really sit with these songs and they’ve been on repeat the past month.

Intolerance: I usually skip this song, but it’s because I love the following one so much. I’ve only really heard this one at the end when I let the album repeat. I like this one, I like the delivery. It’s very punchy

Prison Sex: I always start with this song. I love this one, and the topic is clear, but it’s very bearable to listen to. I feel like songs about graphic subjects such as this can sometimes be presented in an uncomfortable way that warrant a quick skip, but Tool has made this digestible while not straying away from details. I love this one.

This is a strange thing, but any curse in this song, or any Tool song, still feels lyrically tasteful. I’ve heard songs say ‘cum’ before and it’s made me feel genuinely uncomfortable, but Tool doesn’t make me feel that way. I am easily put-off, especially with any references to sexual content, but Tool presented a heavy topic with the same sexual language I’ve heard before and made it sound good.

Sober: I keep forgetting to write about this song, but it’s because I just listen to it instead of dissecting it. I can’t really say much, but I think it’s good and compelling. It’s a wonderful listen.

Bottom: This is an energetic song that comes to a sudden crawl with a long segment with spoken lyrics. I feel like others might rate this song lower, but I often find myself going ‘man, I really want to listen to bottom.’ The backing track behind the monologue is simple but I just love it, and the rest of the song afterwards is great. So much energy in this along with so little at the same time.

Crawl Away: While this isn’t a bad song by any means, it’s not my favourite of this album, far from it. It’s decent enough and I don’t find myself skipping it, but I do prefer others.

Swamp Song: I love this man’s voice. I don’t even know his name because I don’t actively Google the people I’m listening to. I heard he’s kind of an asshole. I don’t care though. I think Mr Tool can murder a close loved one and I’d be listening to them on the bus ride to visit their grave. This song is okay.

Undertow: I often feel like title tracks are a little underwhelming. They’re never the best the album has to offer, and while I do have preferences, this is an exception. I’m always impressed when lyrics can have longer words and a bit of storytelling and not feel choppy, or like it’s a run-on sentence. Just actually impressed with this one. I love the religious imagery.

4°: Love the lyricism with this one, it’s one I kept going back to, wanting to really understand what’s being said here. I think they’re really interesting and I’ve read multiple interpretations about it possibly being about sodomize non-believers, and Maynard has made things a double entendre before. Is it just about anal? Or is that a metaphor? I don’t know! Good song though.

Flood: Possibly my least favourite track, but it’s not even bad, which says a lot for the album. I just don’t like it as much as the others. I think it’s because the start is such a crawl. Unfortunate, I hate that I dislike anything from this album! I think it’s rated too high, but I’m so serious I’d be physically pained if this album got less than a nine.

Disgustipated: I looked at the length of this one and thought “this must be one of those surprise tracks you’d get if you left the CD player on” but I was met with a weird audio art piece. This isn’t a song you’d put on in the background, I feel like you’d come to this one with the intention to listen and experience. The rest of the track is the sounds of outside with crickets. Around the 14 minute mark, there was a story. It was cool, but ultimately I don’t think this is a song I should even rate. It’s a decent enough outro, with a dark story and a religious sermon. Fitting.

[human-antithesis]

Tool - Undertow (April 6th, 1993) Country: United States Genre: Progressive Metal

Lineup: Maynard James Keenan - Vocals Adam Jones - Guitars Paul D'Amour - Bass Daniel Carey - Drums

Guest/Session: Henry Rollins - Additional Vocals (Track 4) Chris Haskett - Sledgehammers (Track 10)

Tracklist:

Intolerance - 04:54

Prison Sex - 04:56

Sober - 05:06

Bottom - 07:14

Crawl Away - 05:29

Swamp Song - 05:31

Undertow - 05:22

4° - 06:03

Flood - 07:45

Disgustipated - 18:42

[dogsoatmeal]

disgustipated by tool but if thats too long then sober by tool!

couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | ok i really like this | downloading immediately | already in my library

rips off my shirt to reveal shirt underneath that says I HEART TOOL

[thistooisyuri-ttv]

Call me disgustipated, the way way people think I'm a Tool

[opiatepriest]

REVEREND MAYNARD

And the angel of the lord came unto me

Snatching me up from my place of slumber

And took me on high and higher still

Until we moved to the spaces betwixt the air itself

And he brought me into a vast farmlands of our own Midwest

And as we descended cries of impending doom rose from the soil

One thousand nay a million voices full of fear

And terror possessed me then

And I begged Angel of the Lord what are these tortured screams?

And the angel said unto me

These are the cries of the carrots, the cries of the carrots!

You see, Reverend Maynard

Tomorrow is harvest day and to them it is the holocaust

And I sprang from my slumber drenched in sweat

Like the tears of one million terrified brothers and roared

"Hear me now, I have seen the light!

They have a consciousness, they have a life, they have a soul!

Damn you! Let the rabbits wear glasses! Save our brothers!

Can I get an amen? Can I get a hallelujah? Thank you Jesus

This is necessary

This is necessary

Life feeds on life feeds on life feeds on life feeds on

This is necessary

This is necessary

Life feeds on life feeds on life feeds on life

This is necessary

This is necessary

Life feeds on life feeds on life feeds on life feeds on

This is necessary

This is necessary

Life feeds on life feeds on life feeds on life

This is necessary

This is necessary

Life feeds on life feeds on life feeds on life feeds on

This is necessary

This is necessary

Life feeds on life feeds on life feeds on life

This is necessary

This is necessary

Life feeds on life feeds on life feeds on life feeds on

This is necessary

This is necessary

Life feeds on life feeds on life feeds on life feeds on life

It was daylight when you woke up in your ditch

You looked up at your sky then

That made blue be your color, you had your knife there with you too

When you stood up there was goo all over your clothes

Your hands were sticky

You wiped them on your grass, so now your color was green

Oh Lord, why did everything always have to keep changing like this

You were already getting nervous again

Your head hurt and it rang when you stood up

Your head was almost empty

It always hurt you when you woke up like this

You crawled up out of your ditch onto your gravel road and began to walk

Waiting for the rest of your mind to come back to you

You can see the car parked far down the road and you walked toward it

If God is our Father, you thought, then Satan must be our cousin

Why didn't anyone else understand these important things?

You got to your car and tried all the doors

They were locked. it was a red car and it was new

There was an expensive leather camera case laying on the seat

Out across your field, you could see two tiny people walking by your woods

You began to walk towards them

Now red was your color and, of course

Those little people out there were yours too

[shadowsdarkrealm1]

Tool ~ Disgustipated

[itsjustlyle]

It was daylight when you woke up in your ditch. You looked up at your sky then. That made blue be your color. You had your knife there with you too. When you stood up there was goo all over your clothes. Your hands were sticky. You wiped them on your grass, so now your color was green. Oh Lord, why did everything always have to keep changing like this? You were already getting nervous again. Your head hurt and it rang when you stood up. Your head was almost empty. It always hurt you when you woke up like this. You crawled up out of your ditch onto your gravel road and began to walk, waiting for the rest of your mind to come back to you. You can see the car parked far down the road and you walked toward it. "If God is our Father," you thought, "then Satan must be our cousin." Why didn't anyone else understand these important things? You got to your car and tried all the doors. They were locked. It was a red car and it was new. There was an expensive leather camera case laying on the seat. Out across your field, you could see two tiny people walking by your woods. You began to walk towards them. Now red was your color and, of course, those little people out there were yours too.