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Peyote Killa
New member
TOOL PERFORMS
One of the finest and strangest exhibits of artistry and music was displayed in this “concert”. TOOL commenced in typical fashion with some very solid tracks from the Grudge to Stinkfist, and the video accompaniment was great as well. However, later the band would turn the crowd on its head with trip far outside the realm of the imaginable with a frighteningly haunting version of “Reflection” and monumental and scorching clip through “Triad”. Maynard displayed the true depth of his creativity and willingness to explore the vast reaches of the emotional landscape of our minds. How he developed the entrancing vocals for “Reflection” is quite a feat in itself. As the song ambled forward, I found myself in almost disbelief of what I was witnessing, and a few glances sideways proved that the rest of the audience felt the same. The band had succeeded in invading our hearts, minds, and souls; and the collective mass of onlookers was caught in the grip of the moment, and vulnerable to the power. Personally, I felt as if my soul had been raped, and I was being transported into a new mental reality wherein I would be helpless to use the comforts that this world and my experience in it could provide. Frankly, I felt possessed and frightened. The dangling bodies that appeared with the accompanying frog-like sounds, which took my mind off the chart, cemented this. The mood was so eerie that it seemed as if the whole crowd had become paralyzed, physically and mentally, and was trying to nurse the disbelief of the spectacle. In “Triad” the superlative drumming set pace and Adam stepped forward, opened himself up and cut loose with a searing effort, which produced some of his finest guitaring yet. This version was rude awakening to the sheerly brilliant quality of the band’s musicianship and to a new standard in modern rock performance. The power of this number was unprecedented and plausibly unparalled. The production of “Reflection” and “Triad” was so creative, moving, and progressive, that I feel we witnessed one of the most brilliant examples of modern expression and fruits of pure genius and uninhibited artistry that is imaginable. I am still so gripped by what transpired tonight that I am afraid of the reality of it all and am surprised a few people did not have mental breakdowns under the crippling power of the moment.
I wrote this as soon as I got home from the concert, the most moving thing I have ever been subjected to. It has not been changed since it has been writing, nor will it ever.
One of the finest and strangest exhibits of artistry and music was displayed in this “concert”. TOOL commenced in typical fashion with some very solid tracks from the Grudge to Stinkfist, and the video accompaniment was great as well. However, later the band would turn the crowd on its head with trip far outside the realm of the imaginable with a frighteningly haunting version of “Reflection” and monumental and scorching clip through “Triad”. Maynard displayed the true depth of his creativity and willingness to explore the vast reaches of the emotional landscape of our minds. How he developed the entrancing vocals for “Reflection” is quite a feat in itself. As the song ambled forward, I found myself in almost disbelief of what I was witnessing, and a few glances sideways proved that the rest of the audience felt the same. The band had succeeded in invading our hearts, minds, and souls; and the collective mass of onlookers was caught in the grip of the moment, and vulnerable to the power. Personally, I felt as if my soul had been raped, and I was being transported into a new mental reality wherein I would be helpless to use the comforts that this world and my experience in it could provide. Frankly, I felt possessed and frightened. The dangling bodies that appeared with the accompanying frog-like sounds, which took my mind off the chart, cemented this. The mood was so eerie that it seemed as if the whole crowd had become paralyzed, physically and mentally, and was trying to nurse the disbelief of the spectacle. In “Triad” the superlative drumming set pace and Adam stepped forward, opened himself up and cut loose with a searing effort, which produced some of his finest guitaring yet. This version was rude awakening to the sheerly brilliant quality of the band’s musicianship and to a new standard in modern rock performance. The power of this number was unprecedented and plausibly unparalled. The production of “Reflection” and “Triad” was so creative, moving, and progressive, that I feel we witnessed one of the most brilliant examples of modern expression and fruits of pure genius and uninhibited artistry that is imaginable. I am still so gripped by what transpired tonight that I am afraid of the reality of it all and am surprised a few people did not have mental breakdowns under the crippling power of the moment.
I wrote this as soon as I got home from the concert, the most moving thing I have ever been subjected to. It has not been changed since it has been writing, nor will it ever.
