I think Tool deliberately tricked the rock audience of 1992 with this. My theory stems largely from the face that, with one notable exception, these songs don't sound like Tool songs.
They're good songs, it's a quality E.P., etc, but the tropes of Tool - the musical peaks and valleys, Maynard James Keenan's lyrics and push/pull urgency of delivery, and the length of the tracks just aren't here.
Instead, we have short (for Tool), simple rock songs with all the subtlety of a falling bowling ball.
I think this complication of songs made for an easier sell to people of the era and they were left thinking that Tool was a fairly average rock band with one crazy song at the end of the record as opposed to a band that writes crazy songs who lulled them in with less spectacular offerings.
I think that the title track is the only one that Tool REALLY cared about. The art is built around it. The E.P. is titled after the song. Of the E.P.'s 26:52 runtime, "Opiate" runs at 8:28 or over THIRTY PERCENT of the entire run time.
And, when they re-recorded and re-released Opiate Squared, none of the other songs made the cut. "Opiate" stood alone from all the songs it originally came with.
I think the rest of it was just "we're just a normal rock band, guys." They had a few live tracks, they had a video that was unlike anything they would make later, and, again, there was only one "weird" track but it would make a fantastic inoculation to the full-blown "Toolness" of their follow-up, Undertow. That album wouldn't sound nearly as strange if fans had gotten used to "Opiate."
I think it was a pretty smart move.
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Regisseur Bong Joon Ho breekt record met nieuwe film Mickey 17
04:10 | RTL Nieuws
#USA #ZuidKorea #Film #Record
holy shit that's just insane
banquise arctique : 
banquise antarctique : La fonte touche à sa fin et 2025 rentre dans le Top 3 ! Le minimum enregistré ce week-end = 2 113 014 km2
21:24 | NOS Nieuws
