A Perfect Circle"MER DE NOMS"2LP (TOOL) OOP RARE

$

81

VIRGIN 49253, 2000 (Out of Print)
Condition: Cover/ NM-M (Gatefold). LP/ NM-M (Visual Grade).

AMG Biography
by Tracy Frey

Formed by Tool vocalist Maynard James Keenan and former Tool guitar tech Billy Howerdel, A Perfect Circle is an extension of the alt-metal fused with art rock style popularized by Tool in the early to mid-'90s. While similar to Tool in intensity and melancholy, A Perfect Circle is less dark and more melodic with a theatrical, ambient quality that incorporates occasional strings and unusual instrumentation.

After the release of Aenima in 1996, Tool found themselves in the midst of an extended legal battle with former label Freeworld Entertainment. When the dust settled two years later, the band reached a 50/50 joint venture agreement for future recordings and, feeling a little burned out, decided to take some time off. It was at this point that Keenan joined up with Howerdel and Paz Lenchantin to form A Perfect Circle. Keenan had met Howerdel in 1992 when Tool opened for Fishbone. Howerdel had been Fishbone's tech at the time and had played Keenan a few of his songs. Keenan was impressed and the two talked of collaborating in the future. However, the opportunity didn't present itself until after the Freeworld settlement. With Keenan on vocals, Howerdel on guitar, and Lenchantin on bass, the trio recruited ex-Failure and Enemy member Troy Van Leeuwen on guitar and ex-Vandals and Guns N' Roses member Josh Freese on drums.

The quintet rehearsed together but didn't announce the formation of a new band until performing for the first time on August 15, 1999, at a benefit concert at the Viper Room in Los Angeles. Howerdel, who had been composing songs for years, as well as working with bands such as the Smashing Pumpkins and Nine Inch Nails, became the band's chief songwriter and producer. A Perfect Circle released their debut album, Mer de Noms, in 2000. Thirteenth Step followed in 2003, and the covers album Emotive appeared in 2004.

AMG Review
by Ned Raggett

A Perfect Circle is one of those bands that nobody realized was needed until it happened. A grand claim, perhaps, but there's little question that the addicting combination of Keenan's aching voice and Howerdel's accomplished songs and production skills made for one of 2000's best splashes in whatever was left of "modern rock." That the band had in its initial pre-debut album tours performed an audacious, entertaining medley of Ozzy Osbourne's "Diary of a Madman" and the Cure's "Lovesong" — regularly matching one's words with the other's music and vice versa — indicates where Mer de Noms ended up. Howerdel's earlier work with Billy Corgan makes perfect sense as a result, since the Pumpkins regularly fused the extreme theatricality of metal and goth just so, but Howerdel's work is no clone. His guitar work operates on setting the mood rather than driving everything before it, balancing sheer power with a textured approach that's quite beautiful. Nine Inch Nails-inspired touches crop up in the distorted percussion of many songs, such as "Rose," but for all the derivations everything becomes its own smart fusion, with Keenan's vocals the killer touch. His abilities in delivering on-the-edge emotional collapse had long been clear thanks to Tool — here, with a slightly different musical bed to carry things, he often holds back from complete explosiveness, but it's still clearly him, just about to crack. His astonishing call-and-response exchange on the single "Judith" makes another high point in his career. The choice of who else to make up the band was a smart one — Lenchantin's violin and string arrangements add even further to the air of dark, moody mystery, while Josh Freese's abilities on drums once again come to the fore. Alan Moulder adds in some fine help on mixing, polishing the glowering sheen of Mer de Noms to a hard, sharp edge.

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GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.