Tool - Phoenix, AZ 7/21/2009

Last night Tool played at a moderately sized arena, the U.S. Airways Center, in downtown Phoenix. For a couple days before the show, I had been pretty disappointed and less enthusiastic about the show than in the past. This mainly stemmed from the fact the first two shows played in this tour were short set lists. This also came from the fact the venue wasn't really anything to get excited about and the ticket prices definitely weren't any cheaper. I started to feel that Tool, as a collective, had decided to forgo any over-and-above fan-catering and decided to chose a more closed-up, introspective endeavor. 

That original perception created a bit of a down emotion as I have felt the band's strongest point was uniting so many walks of life into enjoying this same outlet of art.

I decided, that I was happy to have been apart of something while there was something to be apart of. That the Tool that I knew from the beginning had grown in ways I never imagined possible and there is no harm with that. With that, I reserved having any negative feelings on the way to the venue. I was going to enjoy a concert by my favorite musical group, with my favorite person in the world:  Danie.

We have done it several times before. This was Danie's fifth Tool concert and innumerable concert-outing with yours truly. It's funny that we both met from the local party scene but hardly go to those outings anymore. We've been doing the concert thing long enough that she knows I get nervous on the way to a show but I try to hide it. She knows I drink too fast in parking lots to achieve a small buzz without paying a fortune at the venue. She knows not to walk me in front of the merchandise booth. Tool or not, just having another one of these experiences with her made the day and evening a lot more elevated. There's nothing routine about it, just familiar and desirable.

Tweak Bird was the opening act. All-in-all, they performed very well. The drummer had a very meticulous air to him, his methods were entertaining. He was dancing with his arms to be able to hit his cymbals on time--it was pretty insightful. He also was twirling his long hair in a circle while playing, something I hadn't seen before. The songs were long, intricately arranged, and full of cool little synthesizer effects that brightened their stoner-rock sound. There were only two members. Two members with an occasional clarinet/saxophone player.

Took about 45 minutes to set up for Tool. I feel that posting the entire set list is irrelevant. However, they started with Jambi. About halfway through the song, I felt completely at ease. Like hanging out with a friend that you would do more often if your schedule allowed. The band was very energetic and spot on. 

Danie and I's seats offered me a different perspective of the show that I was grateful to have. Could see a lot more detail of the visuals. Some have been complaining that this tour they are using the same visuals as last. This was like seeing those for the first time, and I enjoyed them very much. Lasers are never a bad thing. Unless pointed at your eye.

They played nine songs. Same set list as the two nights prior with the addition of Ænema. It was a good addition, but they were playing so well and I was at so much ease, if they hadn't played it the show would have still been awesome.

Stinkfist was extended (no "White Lines" though), sped-up version of Schism, and Lost Keys was amazing. It was the first time I realized that Justin is playing Frippertronics with his bass during that introduction. I was excited to realize that. That was probably the highlight of the night:  watching Justin be in the zone with those tones.

Danny was spot on. Amazing talent, his hands moving so fast they were blurred but his wrists always seem so relaxed. He played the drum duo during Lateralus with Asthon from Tweak Bird. I've seen these duos with many different drummers and they have always been a treat. It was obvious this was Ashton's first time doing it, he never took his eyes off of Danny--as if trying to learn. The drummer from Messhugah, back in 2002, had been so into it that he broke one of this toms from playing so hard. I think that future shows of this tour will really have an impressive duo. The drummer from Tweak Bird, as I mentioned before, was very intriguing.

Adam's presence was pretty strong. At one point in Lateralus, I couldn't hear him. This may have been from the extra drum set on stage, or poor mixing of the audio--or Adam might have just messed up. That's the only thing I noticed that was out-of-norm from his normal performances. He was dressed very casual, had great posture, and that normal welcoming feel. Maynard, doesn't get as much detail as it was pretty vague, like usual. He didn't sing, "Vicariously I..." at the end of Vicarious, which had become routine. What wasn't routine was the he didn't finish singing anything else after that either. I have a neutral opinion of it. It would be nice to have him more active, but I am sure he has his reasons, and that's it.

Best song of the night:  Flood. The aggression and speed was above what it has been in the past.

It was a good experience overall. I feel a little guilty for having a negative stance towards the show prior to it. I can justify it though as after seeing them 12 times you start to have expectations. When those expectations are kept at bay, its obvious they are a great live band with a lot of history and a love for playing. I have seen some shows were that kind of mentality was missing from the performer. Tool really does go out of their way to make a show for the hardcore fans and the casual listeners. I am looking forward to them wrapping up this tour, recording another album and getting back on the road when they can. It's a great memory for Danie and I to share for the rest of our lives and I know we will have even more memories of Tool to add to that pool later.

"I feel like that is your song right now," Danie's comment on 46 & 2. I agree.

Subconscious Communication - Introduction

This is where I can get to put on my instructing hat. I learn best by teaching. A recent conversation with Khoa helped me realize I am not alone in my deep desire to share knowledge with others in this world, in this time. Lately I have a gone to great extents to organize my creative outlets. The idea was to create an organized method that felt like my own and to have it stand on its own two feet in case there were times where the creative pool was dry and the outlets unused. My little disclaimer is that by no means is this text supposed to convey pompous feeling over my methods. I like to communicate with confidence. I feel by doing so, my audience is more likely listen. I could be wrong.

My experiences with the creative world have always been shaky. For good reason however. The creative world mimics our subconscious brain in almost every aspect. The way I see it, our conscious brain is simply a veil of logic and defined contrast over the chaotic, blended subconscious. I say that reality acts the same over the creative 'realm.' The only thing is when you are awake and alert you are very much conscious--it can be defined by a physical state in opposition to the subconscious and unconscious. Reality is subjective. It may be concrete in the moment but over time it is as fluid and varying as the translucent cloth spoken of above.

Enough of that, the real meat of these posts is about subconscious communication. This is not subliminal, it's not meant to be unnoticed to the conscious receiver; it's communication that is to seat nicely within the subconscious mind. My idea is that if a thought or idea is crafted in the creative world its destination would be somewhere similar. Packaging the bullet of communication in a conscious condom. It has to work in the thin layer before it can dent the dermis. 

Pop culture and its minions do this best. It plays the game best in the receiver's conscious realm because it highlights common ground. Its entire existence is dependent on previous experience. Reworking the ideas. What's hidden within is the real treat.

I have listened to music that is not only pleasing to the ear but is emotionally captivating. I can kick my foot to the beat, feel the edge of the sound on my neck, and breathe the bass line in my lungs. I also get goosebumps up and down my arms with emotional resonation. 

When I look at a Pablo Picasso piece, my initial reaction is, "My kids can do that. What's the big deal?" Then, I opened my heart to the mental environment Picasso was in when he created those pieces and it all made sense. It was innocent and divine. 

What I would like to discuss in a few more posts are the ways I have applied the doctrine of subconscious communication into a positive, progressive method to be applied every day. It becomes an emotional exercise. It can even be frightening at times:  moving the veil to the side, exposing the uncomfortable, the vulnerable. So please stay tuned for the description of these methods and feel free to discuss criticism.