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[Editorial] From Worst To Best: Tool

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Tool is by no means meant for the casual listener. Their music defies traditional songwriting, dynamically surges from crushing distortion to soft beauty, plays with time signatures, bears some of the most interesting lyrics available, and doesn’t give a damn about song length to ensure radio play. Add to this list the band’s love of the occult and teasing fans with the possibilities that their lyrics and music hide a deeper meaning. Everything combined makes Tool one of the most challenging, well-respected and fascinating bands releasing music these days.

And so I decided that my love of the band should be used to rank their discography. Having listened to each album more times than I can count, I feel very comfortable in my decisions. Note that I am only doing the four full-length albums and I’m not including the Opiate EP nor the Salival release.

This is by no means an easy task. Having been a fan of Tool for more years than I can easily count, I realize that these albums each represent a different period of my life and I have certain memories associated with each one. Still, I’ll do my best to remain objective. So, join me below to find out my “From Worst To Best” with Tool.

10,000 Days

I feel almost dirty saying that this is my personal worst Tool album. I realize just how personal and meaningful it is to singer Maynard James Keenan, considering the lyrical nature of “Wings For Marie” and “10,000 Days”, which are odes to the passing of his mother. But I can’t help but feel that these tracks wander aimlessly, almost meandering about trying to find the time to coalesce.
Then there is the seemingly pointless “Lipan Conjuring”, which doesn’t match the importance or effect of AEnima’s “Intermission” or Lateralus’ “Eon Blue Apocalypse”. Those tracks at least build up and enhance the following tracks, “Jimmy” and “Patient” respectively.

The final track, “Vigniti Tres” doesn’t seem to serve much of a purpose. Lateralus’ “Faaip De Oiad” had a story and a terrifying atmosphere that was very Tool-esque (much like Undertow’s “Disgustipated”), which “Vigniti Tres” lacked.

However, I must say that songs like “The Pot” and “Jambi” are incredible and “Right In Two” may very well be one of my favorite Tool songs.

Undertow

Easily Tool’s most sinister album but nowhere near as polished. This can easily be attributed to it being their debut full-length as well as the fact that the lack of polish actually serves to help the songs and their atmosphere. Definitely the angriest Tool has been.

However, it seemed like the band hadn’t really figured out exactly what possibilities there were available to them. They still played within boundaries.

A very strong album but I’m still going to have to put it third overall.

AEnima

It was incredibly difficult trying to decide between this album and Lateralus as to who gets the crown. Both albums are astonishing, defining pieces of music. So choosing between the two of them as to which gets the crown was something I agonized over for days.

It’s a complex and fierce album that mixes the long, epic songs Tool is now known for with the shorter, in-your-face heavy hitters that fans can’t get enough of at concerts. Melodic and thrilling, AEnima will always remain one of my favorite albums of all time.

Lateralus

Where AEnima is clearly the heaviest, most visceral Tool album, Lateralus is the pièce de résistance. It’s more a work of art with stellar songwriting and fascinating, heartrending lyrics. It’s also a source of great mystery and intrigue with the listeners, who devoted time and energy into creating an alternate track list based upon the Fibonacci sequence, of which they took inspiration from the lyrics themselves.

Something about this album made the band just seem to coalesce into a machine that knew how to work perfectly well with each other.

This album also features my personal favorite Tool song “Reflection”. Talk about a song that builds layer upon layer and comes to an astonishing climax. Not to mention the whole trilogy (“Disposition”, “Reflection”, and “Triad”) is an incredible journey.

Alright Tool fans, now that I’ve said my piece, what are your thoughts? What should the order be?

Managing editor/music guy/social media fella of Bloody-Disgusting

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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