String Tribute to Tool
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CD Details
Performer: Richard DoddPerformer: Steve Velez
Composer: Tool
Performer: Fred Charlton
Performer: Piotr Jandula
Performer: Eric Gorfain
Performer: Pam Jacobson
Performer: Reggie Clews
Performer: Roland Hartwell
Edition: Music CD
CD Release Date: 2001-09-11
Music Label: Vitamin Records
Soundtracks:
- Sober - Tom Tally, Steve Velez
- Intolerance - Pam Jacobson, Tom Tally, Steve Velez
- Grudge
- Patient
- Opiate
- Hush - Tom Tally, Steve Velez
- Schism
- Ticks and Leeches
- Aenema - Pam Jacobson, Tom Tally, Steve Velez
- Pushit - Tom Tally, Steve Velez
Music reviews of String Tribute to Tool
Music Review: Rich, beautiful, visceral, Tool.
Rating: 4 Stars
Most people who encounter the String Tribute to Tool (also referred to as Third Eye Open) will be crossover fans from Tool's original work, as opposed to fans of experimental string quartet music seeking out Tool for the first time (although this is theoretically possible). And as this CD is essentally a tribute to Tool, this makes sense, and it is not incorrect to want to judge this album in light of Tool's original recordings, which have a vastly different texture of sound. Thus, those seeking complete sonic replicants of the originals are bound to be disappointed, but so shall those who are looking for exploratory arrangements that obliterate much or all of the initial structure of Tool's songs in favor of even more abstraction. Rather, this album lays somewhere in between.
With the powerful opener "Sober", it's hard to see how anyone could discredit this CD. Each instrument really lays into the arrangement like a hot knife into butter. As the cello and bass come in on the song's ubiquitous bass root with a viola adding eerie structure behind, an articulate violin comes in to match Adam Jones' original guitar part with its own frenetic melody. The song continues to be a faithful, creative, and sonically rich interpretation of the original "Sober" for each second after and ends with a sense of true accomplishment, both for the listener and (surely) for the performers.
What fascinates me the most about this CD, though, is how difficult it must be to arrange small string sections to Tool's complex music and that in spite of that each of these arrangements seems to fit almost perfectly. Some songs certainly shine greater than others: the aforementioned "Sober" is one of the best, blooming with energy and sensation. "?nema" is another, featuring slight altercations and juxtapositions in the rhythm and groove as the song continues, as well as a headlong commitment to the grandiosity of the original in spite of the immense difficulty. And besides adding some new solos and phrasings throughout the songs, the performers also took time to include their interpretations of some of the original non-instrumental intros to Tool's music, as on "Intolerance" and "?nema".
While the CD waxes intense for many of the tracks in another display of faith to the original recordings, the mood here is actually somewhat diverse. My personal favorite, "Pushit", is a beautifully melancholic performance that perfectly captures the mood and intent of the original song. "Ticks and Leeches" broods quietly, spending much of its time in the interlude section of the original. Even "Hush", which one might guess would be rendered much less meaningful without lyrics, seems to have retained all of the cynical humor of the 1992 recording.
The flip side of this is that non-Tool fans are sometimes attracted to the band through this CD. While this is certainly not the rule, hearing the Tool's music in such an unusual format often allows people to judge them more objectively. Only a few years after its release, I already know a handful of people who say that they would never have listened to Tool were it not for this CD or its companion (Metamorphic, or Volume 2).
For some, this CD will take just as much of an open mind to understand as Tool's music alone does for so many others. But it is completely worth the adjustment: each interpretation is a rich, poetic blend that can stand amazingly (read: surprisingly) close to the original in musical strength.
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