obligatory influential on the track of week post.
i'm struggling to find my guitar influence in this track. the general construction is very edge, and the feel is largely corgan. i've kept track of this repeatedly on multiple videos though so i'm not going to post it again. there's also an extra sort of jazzy sophistication to this, though. keep in mind i'm still 17 on this track, and maybe a little shy about doing things with the instrument, so it's a little bit stifled.
i think there's some gilmour in there in the lyricism of the playing, but i hadn't hit that heavy animals period yet. i think that what i'm hearing is more the kind of thing that fripp did in something like starless, but interpreted through my suspicious-of-prog punk rock filters. so, it's a little grungier sounding.
(relevant tracks: idiotic, untitled, evil is a human construction, liquify, book it, all of the symphonies, most stuff after 1999)
http://www.youtube.com/watch?v=aRHvD6h3-C0
i think the bassline in the blues guitar solo near the end of the track is a good way to explore how some people misunderstand a small handful of prog acts - king crimson and genesis in particular, to be very specific. ironically, i think missing the point comes in overanalysis.
if you sit down and try and figure out what the fuck it is that you're listening to on a mathematical level, you're going to hear a confusing time signature and an agile scale run and it will appear boring and academic. it's only when you step away from that that you can hear the bassline as controlled collapse framing the mayhem around it. these increases in the complexity of the music actually begin to affect the feel of the piece, which is what the tools of course have been developed for in the first place.
i've pointed out repeatedly that the critics of prog were often right. but these two acts in particular really legitimately went over people's heads, and that needs to be corrected and reevaluated. i think this is slowly happening, and i'm actually reinforcing something that's already happening. but i think it can't be said enough until the narrative really changes.
holiosys atRandom
drummer here and I totally agree, the mid song bassline is like 13/8 and as a drummer I'm quite amazed, but yeah, take a step back and let it all unfold and you shall see. tip, give reflection from tool a listen, beautiful.
deathtokoalas
i've been a tool fan for many years (although i found their last disc to be mediocre), but i consider them to be a grunge band with little influence from something like this. you could confuse a lot of people by telling them undertow is a soundgarden record.
tool's biggest influences were bands like melvins, black flag and swans.
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deathtokoalas
again: the only trace of crimson you're going to hear in tool is a bit of syncopation in the rhythm section. this is bruford/levin period crimson. but it's not dominant. tool is, first and foremost, a hardcore punk band...
fripp has stated he doesn't hear the similarity, either. and it's for good reason - there really isn't one.
i'll be a little more detailed.
the primary reason it's a bad comparison is that tool basically never plays in overlapping timings. they'll mix it up a little. but, again, i'm going to point to soundgarden or black flag (or led zeppelin) for that. the "crimson sound" is a sort of corollary to minimalist music theory - each instrument plays in a different time, in a way that unfolds metrically, but seems somewhat chaotic. fripp has claimed he developed this independently of steve reich, but i've always been skeptical of the claim.
the "tool sound", on the other hand, is very monolithic. when they play in off times, everybody is playing together. it's a full band attack. because it's punk rock...
now, yeah, you'll get this flashy bass part here and there, or this drum excursion jumping out from time to time. but they're fills.
so, when fripp claims he doesn't hear it, he's right. there's really no similarity on a compositional level. even if you can hear that touch of bruford & levin on the odd offbeat or in the odd figure...
