The sound can only be described as mecha-Pink Floyd, or a darkly brooding, sinister version of Rush.

After five years of waiting, “10,000 Days” is Tool’s highly anticipated follow-up album to 2001’s “Lateralus.” This outing marks the band’s venturing into the land of little to no singles.

“10,000 Days” is a long way from being radio-friendly. However, that’s not necessarily a bad thing. This time, Tool tries hard to step further into the progressive rock unknown.

“10,000 Days,” is an album that only Tool could make. Surreal artwork and stereoscopic viewing lenses on the CD case coupled with an ambiguous sound all mark the ambitious return of rock’s reigning scholars.

The album opens with its first, and likely only, single, “Vicarious,” which is a very traditional Tool number. However, the sense of familiarity seems to end there. The rest of the album seems more like an odyssey than an LP.

Listening to it in its entirety is somewhat of an endurance contest. Eight of the 11 tracks are over six minutes in length. For the most part, it takes a quieter approach than previous Tool albums. It just begs to be listened to with friends in someone’s black-lit basement.

The sound can be described as mecha-Pink Floyd, or a darkly brooding, sinister version of Rush. “Wings for Marie” is part one of two of a deeply personal tribute to lead singer Maynard James Keenan’s mother. “Intension” will likely puzzle traditional Tool fans. These two songs play out like long ballads of a distinctly slow, heavy rhythm, with subtle vocal work.

The rest of the album is sprinkled with short, what you could only call “story tracks” like “Lipan Conjuring,” and “Lost Keys (Blame Hofmann).” They are minimalist pieces that definitely say something. Just what exactly is uncertain. Regardless, they are unique methods of introduction to the next epic song.

The confused looks on seasoned Tool fans’ and newcomers’ faces are eventually lifted by the song “Right in Two.” For the most part, the song sounds like an older Tool song, before it drops into the slower tribal feel of the rest of the album. The end seems a bit too reminiscent of “Forty Six and 2,” though.

This seems to be the unifying theme of the album. Songs begin like normal Tool songs, but shift to elaborate jam sessions, complete with tribal drums and driving bass. “The Pot” is a perfect example of the shift back and forth from old and new extremes.

Tribal sounds aren’t the only experimentation found on the album. Guitarist Adam Jones apparently took some cues from his friend, Tom Morello of Rage Against the Machine and Audioslave — all the solos stray far from traditional metal roots. Songs like “Jambi,” and “Roseta Stoned” will raise a few eyebrows with their unique guitar and pedal usage. Even if they do kind of wear out their welcome near the end.

The album will likely be synonymous with the likes of Radiohead’s “Kid A,” and “Led Zeppelin III.” Like them, it is an album vastly different, with unexpected experimentation and stylistic change. It is too odd for mainstream fans, and too heavy and bizarre for newcomers.

But it will likely be remembered as some of the band’s best work, or at least, the most ambitious.

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