Every music fan will agree with this: Instant Good Band, just add Maynard James Keenan. The latest concoction of the Tool ringleader has him teaming with Billy Howerdel, Paz Lenchantin, Troy Van Leeuween, and Josh Freese; and with their effort, Mer De Noms, you are once again reminded just how powerful a good hard rock band can be. There's a slight change in the recipe this time, however, as there are sporadic moments where the music seems much more extroverted than anything Tool as a whole released (a fine example being the opener, "The Hollow"). Of course, there are always exceptions to the rule, "Magdalena" being a definite one, as the boringly straight drum track beats you into depression. Maynard's mournfully strained vocals won't help your emotional matters, either.

Mysterious in its birth, "Rose" eventually fades into an apocalyptic romp through the fields, as the acoustic guitar, tambourines and violins play just a keen part in things as the hellish sounding drums. The guitar solo roughly a minute and a half into the song will put you in mind of the first single "Judith", which coincidentally, takes the hellacious side of "Rose" to another level, with screeching lyrics such as "Fuck your God/Your Lord, and your Christ" and "Praise the one who left you broken down and paralyzed/He did it all for you."

Clocking in as the longest track, with a resounding and whopping 4:47, "Orestes" drops you harshly down from the spiteful nature of "Judith", as the occasional melodic blending of Paz, Billy, and Maynard's voices actually soothes you (it sometimes borders on angelic). A good ear can also pick up a mentioning of the band's name in the beginning. Josh Freese, who shines in the aforementioned "Judith", will stand out to some on this track, however he does a nice job of making sure he is playing the band's part, and not his own. For you non-music students, he does a fine job of playing with the melody.

The soothing nature of "Orestes" continues into "3 Libra's", where the sound may trick some listeners into thinking they bought the single of The Smashing Pumpkins' "Tonight, Tonight". Mr. Keenan, who with the exception of "Judith", hasn't done anything vocally close to Tool, keeps the pattern going, as ultimately the song will caress most into sleep. Definitely a good single, barring the inevitable group of rabid "Stinkfist"-aholics who wouldn't be able to stomach their hero doing a heartfelt and vulnerable sounding song. They should be able to handle "Thomas" well, though, as the heavier guitar sound should be able to carry them past the melodic (and in case you're wondering, yes, that is today's word for the day: melodic) singing up until the mental poo hits the fan in the final half-minute of the compilation.

I used to buy a cassette, and consider each side a different album. If you divide Mer De Noms in half, you should get the same effect. "Sleeping Beauty" could stand as its own opening song, especially after following "3 Libra's". The extroverted trend continues, but depressing lyrics begin to seep into the picture as Maynard portraits a fine scene of not being able to help the maiden in distress. Meanwhile, schizophrenia rules the roost in "Renholdër", as acoustic guitar and soul-tearing yells from Maynard mix well with the background violin to paint a gothic picture. Dracula would love this song.

Ever want to hear Maynard James Keenan rap? Check out "Thinking Of You", you'll get as close as you ever will. The bass lines and drum track provide an excellent environment for what I can best describe as "Gothic Hip-Hop". For those believing the end of the album will be no more than what has come before it, think again. You have a curve ball coming straight for your head.

Dedicated in name to Maynard's fiancé, "Breña" is just as you would expect it...well, as you would expect it from Maynard James Keenan. Best described as well, mysterious, the opening acoustic riffs soon metamorphosize into one of the heavier portraits found on the entire canvas. Each verse and each chorus fit together perfectly, as the former showcases Maynard, while the latter perfectly shows off the rest of the group. To close it, comes the curve of the pitch. Nothing more than Maynard, a music box, various auxiliary percussion, and a piano, "Over" sends you on your way in pieces. A simple song, but perfect to end such a brilliant body of work.

Altogether, there are going to be divisions for most fans. Die-hard Tool freaks will more than likely shun Mer De Noms, claiming it to be too soft as a whole. Compared to "Opiate" and other works, they have a point. Putting it in its own limelight, however, will show the absolute brilliance contained in these 12 songs. It's a shame Maynard can't be in two places at once.