No, it’s not the best album in Tool’s catalog. It’s not the second best either, or the third best. At least not in my opinion. But it’s still a damn good album and one that many Tool fans have put off to the side out of sight over the years, if not outright forgotten about it.

At the time of release, 10,000 Days received mixed reviews from fans and critics alike. Of course die hard Tool fans liked it, but the casual fans were a bit less enthusiastic and critics, well, some of them hated this album.

While songs from Aenima such as the title track and Forty-Six & 2, and Sober from Undertow remained staples of rock radio, once The Pot and Vicarious ran out of steam, 10,000 Days fell out of the spotlight and pretty much just disappeared.

When you talk to casual Tool fans, and sometimes even serious ones, 10,000 Days is most often said to be the one Tool album that just doesn’t quite stand out like the others. It’s good, people say, but it’s not heavy like Undertow, dark like Aenima or a challenging musical exploration like Lateralus. It has a little bit of all of those things, but not enough of any to be memorable.

Whether you’re a serious Tool fan whose copy of 10,000 Days has been collecting dust for years, or a casual fan without your own copy, you may want to check this album out again.

Both The Pot and Vicarious sound just as good as they did when the album was released in 2006. They’ve aged well and would fit perfectly into a collection of Tool’s best standard length songs. If you liked those songs 15 years ago, you’re going to still like them now. Lost Keys as the eerie opening that leads to Roseta Stoned combine to be a fantastic pairing and Right in Two and Jiambi remain extremely strong and interesting tracks also worth revisiting.

Sometimes good albums just fade out of memory. It’s time to reacquaint yourself with Tool’s 10,000 Days.

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