Scrobble from Spotify? New Times Broward-Palm Beach. Retrieved January 27, Retrieved August 7, Book Category. Hidden categories: Webarchive template wayback links Use mdy dates from February Articles with hAudio microformats Pages using infobox song with unknown parameters Singlechart usages for Billboardmainstreamrock Singlechart called without song. I must say that after a while an element of predictability creeps into the material. One can almost sense Maynard waiting to explode with anger even when the song doesn't necessarily call for it.
I also don't always appreciate all the aural soundscapes snatches of dialogue and interminable sounds of distant wind that Tool seeks to create. Despite its flaws, this is one of prog-metal's greatest albums. Close to Masterpiece status. This band has introduced dark metal to Prog rock and succeeded greatly the next album melds the two genres together, sounding like a heavier King Crimson.
The singer can hold long notes and his voice is very emotional and has a wide range. I am happy this album won a grammy, because instrumentally, lyrically, emotionally, and melodically Why 4 stars then?
Well, this is like Fragile of the 90s : great songs with filler between them. The problem is that the filler is very annoying, pointless, and even cringe-worthy at times. I give this one a thumbs up just because of the unusual song titles. I will go to the songs first : "StinkFist" is a very heavy opener that succeeds in bringing great melodies while it keeps being heavy.
The guitar dominates it, but the bass has its moments to shine too. The melodies and riffs in this track are the band at their absolute best. The melodies are of course memorable, especially in the chorus. It is a straightforward angst metal song with witty lyrics and a great singalong chorus. The first 4 minutes are normal heavy music.
After the music explodes in minute 4, an dark section commences. Is this King Crimson or Tool?? The song ends in a very heavy moment full of powerful guitar soloing. This is the perfect 'anger' song in my opinion and I am glad to hear it in the radio. This is a highly virtuosic, proggy, psycheledic, and strange track that gives an image of what the next album lateralus would sound like.
The guitar solos are very unusual and creative, and there are moments full of creativity I wonder if they used hallucinogens here, or they came up with this highly difficult, yet rewarding piece. Of course, the big climax and most enjoyable part of the album is when Maynard screams his lungs out "'Prying open my third eye!! What about the rest? Useful Idiot is the sound of a footstep I think in a loop : pointless.
Message to Harry Manback is better, it has a melodic soft piano and a message full of insults in Italian. Intermission is the best of fillers : it is really fun to hear a cheap sounding keyboard playing the melodies of 'Jimmy'. Ions - is probably not pointless, unless you are not using headphones. It feels like electricity going all around your head and preparing you for the trippy last epic. Stinkfist 8. Eulogy 9. Intermission 6. Jimmy 7. Third Eye 9. Aenima is a work that has been unmatched by Tool.
There are so many unique creative aspects to this album that simply cannot be repated. The ambient tracks like "Ion" and "Cesaro Summability" are among the most creative of any band, certainly in progressive metal. What is even more interesting are segue tracks such as "Message to Harry Manback", the organ-happy "Intermission", and the bizarre "Die Eier Von Satan". I suppose the composed music for this album is good too.
On Aenima a listnener will be introduced to unique sonic soundscapes. The chordal harmonies and the harmonies between the instruments are not unique, but inventive. Tool doens't stick to the classical rules of how to harmonize a melody, but rather uses odd and misplaced intervals to bring character to a song.
The timbre is one of the darkest possible. As diverse as the harmonies are, there is nothing that is particularly bright.
The organ on "Intermission" is as joyful as this album gets. The relentless dark atmosphere never fails to hit a listener in a different way with each listen, Aenima is a new universe of dark emotions. Never had I been able to believe that such a thing as "melodic drums" existed.
That being said, Carey is the musical force that brings this album's excellence to be. Carey has unmatched creativity on his toms. He can roll with amazing proficiency coordinating with his bass drum in unique ways, but more importantly he can use single toms to mimic some of the bass melodies throughout the album. Carey is a musician that has almost equal musical possibilities on a drumset as a percussionist has on vibes.
That may be a bit of a stretch, but the drumming on this album is nothing short of creative brilliance. Justin Chancellor only excentuates the rythymnic prowess of this band. Like Carey, Chancellor is playing a traditionally rythymnic instrument and using it to make up the main melodies of the songs. Chancellor's part of "H" is an absolute masterpiece. He uses such a consistent high range throughout the body of the song is parts and guitarist Adam Jones' intervals may even cross easily fooling a non-musician that it is guitar and not bass playing some of the main melodies of this song.
Adam Jones is anything but a leader player. That by no means infers that he isn't a candidate to be considered one of the very best rythymnic players in music. What is impressive about Jones is the chordal harmonies he creates. Jones is able to use inventive chordal intervals to give the songs the most unique character imagineable.
The overdubs from Jones are not only rich, but tight. Jones is one of the few guitarists that can build a wall of sound from an orchestra full of guitar tracks, but sound as tight as a single take. Another trait Jones posesses is the ability to use the higher range of his guitar in ambient ways, not exactly feedback, but the use of slides and long tones in combination with effects to do the most bizarre musical sounds. Maynard James Keenan is the popular vocalist of the band.
His vocal abilities are perfect for the band. He isn't the most prolific singer, but the range of voices he uses fit any type of emotion Tool would attempt to communicate. Keenan's strongest musical trait is his inhuman sustain. Keenans sustain last for phrases at a time, something more than difficult to accomplish. Melodic, aggressive, soft, loud, short, or long Keenan can vocalize any way he needs to.
The production is as good as the band. The clarity of the drums and the tightness of the guitars are the first things which come to mind. The definition of Carey's toms is what impresses me the most.
The micing and mixing is able to capture more of the pitch of Carey's drums than the tone. Something which is a lost art in metal production. The tightness of the guitars is also worth mention and I said earlier. I'm not fluent with whetherTool uses digital editing to get these guitar tracks so tight, but the abscence of ambient noise and noise "hangover" is unbelieveably perfect.
No notes ever leak into any unintended beats. The bass is a little dirty for my taste, but when listening to such a great player like Chancellor, the tone is a minor taste issue. The vocals are mediocre. There isn't enouch harmonization to tell how well the mix for the vocals were, but the important thing is that the vocals fit the music. I know I don't need to say how many stars this album is. All you have to do is read the first or second paragraph. Unfortunately, Tool is often seen as a band judged by its followers, who are mostly angst filled teens who feel people don't get them.
Don't let the fan base discourage you too much. Tool, while pretentious to a degree, is very much keen on what they are doing. The best here is found in Manyard and drummer Carey, both seen as cornerstones in their fields. Carey provides not only outstanding technique, but quality choices in patterns and style. Manyard's voice is one of the most easily recognizable and powerful in music.
Well ahead of its time, and the band for that matter, Aenima is a remarkable and groundbreaking album. Everything falls into place here, one of the best albums of the 90's. Opening with the magnificent Stinkfist, from the get go you know you're in for a ride. Powerful and grungy guitar riffing combined with the distorted and clean vocals of Maynard Keenan all come together with the stellar drumming of Danny Carey and the punchy bass of Justin Chancellor.
As the "hit" if you can call it that of the album, it opens the album with one of the better overall pieces. Eulogy opens with clicking percussion from Carey and the instrumental section which is quite extensive in the beginning really shows the atmospheric qualities of the group. Jones' psychedelic guitar phrases match up with the subtle dancing bass rhythms of Chancellor before they decide to kick in with a main rhythm and Maynard's heavily compressed and distorted vocal performance.
It's probably the weakest of the lengthier songs, though, as it is a bit bland overall. Useful Idiot is a 38 second sound collage of a record skipping and adds no new dynamic to the album and fails to show any purpose as well.
Fantastic rhythmic sections from Chancellor and Carey and when added with Jones' magnificent progressions as well as the spiteful and powerful vocals from Keenan becomes a fantastic piece in the end. Message to Harry Manback is another interlude piece that utilizes a phone message voice and an underlying piano motif.
It's another essentially useless piece although the piano is pretty nice. Following that is the song Hooker With a Penis, a vulgar rocker with some very graphic lyrics from Keenan who has a penchant for writing graphic lyrics and a very bitter and angry vocal performance whilst the rest of the group carry on that sentiment with crushingly heavy riff after riff of pure power. Despite the gruesome subject matter it's a nice piece musically. Intermission has a bit of a circus feel with the organ motif essentially being the theme for the following song Jimmy.
I think it's another meaningless interlude piece that could have easily been edited to the beginning of Jimmy. It's fun, though, as it shows that Tool could have light hearted pieces amidst the dreary and depressing material. Jimmy begins with heavy riffing from the bass and guitar and some precision work from Carey before mellowing out for the verses. It's another simplistic piece in the vein of H. Die Eier Von Satan is the closest thing to industrial the band got.
It may be mindless filler but I like it. Powerful riffing and bitter vocals comprise the majority of the song but the instrumental middle section utilizes some clicking percussion and some subtle percussion from Carey to heighten the atmosphere along with an underlying and later on a lead guitar break from Jones.
It's one of the first truly progressive songs and one of the best. Cesaro Summability is another pointless interlude that's essentially a baby shrieking and it being put through an echo device before becoming meaningless feedback and voices. Its brutal lyrics and its vastly opinionated subject matter are heightened by a great backing performance on all fronts especially the riff from Jones in the beginning.
It's a superb track with a great chorus and middle section courtesy of the fantastic drumming of Danny Carey to go along with it. It's essentially 4 minutes of mixed storm noises. The album ends with the behemoth Third Eye, a near 14 minute track that has incredibly heavy riffs and some extremely well written lyrics and some extremely well performed vocals from Keenan.
Beginning with a Bill Hicks monologue and Danny Carey imitating a heartbeat, it broods slowly before the vocals come in near the third minute.
Keenan's screams and cries mold well with the guitar maelstrom and the consistent rhythm unit work. Throughout the rest of the piece, there are a number of slower and heavy sections and everyone plays wonderfully throughout especially Jones who solos throughout most of the interludes.
The best part though, comes towards the end, when the entire band play a start stop riff while Keenan screams, "Prying open my third eye! Masterpiece of a song and the perfect album closer. In the end, a progressive metal fan can't go wrong with this album. It's got a bitter and spiteful feel and the music is relentlessly heavy at times.
If you're like me, though, you'll find the interlude tracks pointless at best. Highly recommended and if you're starting with Tool get this album first.
Play it LOUD with a decent stereo set..! First, as you know it because I always put his name whenever I review any album of the band, is Rick Wakeman. Yes he talked also with me during his concert tour in Jakarta, Indonesia on February Second, is my i-Rock! Thanks to Rick and Icann for "showing me the hill" lending this phrase from Fish of Marillion.
As for me personally, the music of Tool is attractive and one of my favorite bands, indeed. I started my journey with Tool through their latest album "10, Days" which I have already reviewed as well at this site. It does not mean that the music is stagnant. I believe there are examples of bands who have stayed consistent with their music direction. Take example of IQ which has been pretty consistent from its debut until the latest album "Dark Matter". You might consider as well Pendragon, Pallas who have been consistent thus far.
Tool has successfully blended the elements of energy, drive, enthusiasm, ethnic, passion, sound effects and dynamic instrument playing into an excellent music in cohesive whole. Listen this album in relax way without any prejudgment that they should sound like any group of your favorite - you would find a joy of music delivered by Tool. The album kicks off wonderfully with a sound effect that remarks the commencement of opening track Stinkfist You can hear that bass is tightly played, combined beautifully with drumwork.
Vocal enters in a distant voice style followed with screaming style is performed beautifully by Maynard James Keenan. Guitar is played in distortion style while the music create great groove typical of Tool music. The music interlude gives chances to drums and distorted guitar work to enter nicely during this interlude. It's so rockin'!
I remember the music of New King Crimson. Eulogy starts with excellent exploration of sounds accompanied with floating bass lines and percussion. Drum enters slowly with guitar riffs and rhythm.
The music then blasts in high energy with screaming vocal of Maynard James Keenan. Bass guitar demonstrates its role combined with sound effects. Yes, I can find there are repeated chords but the band has brilliantly inserted different textures into the music.
This has made listening to eight minute duration of this track is enjoyable thing. The combination of drums, percussion and bass is really nice especially it's covered with chanting voice of Maynard James Keenan. Justice Chancelor also plays excellent bass guitar and I think his playing style is one of keys in determining Tool music characteristic. In fact it's not a male chanting but Maynard is singing like he is doing a narration. The vocal part projects an image of energy and it might demonstrate anger.
Well, I don't know what the lyrics are talking about, really, but I see from the point of view of the music the band produces here. Those of you who like metal music would enjoy the music interlude with guitar solo on top of the music. It's so noisy but I personally enjoy it. So, I can enjoy the ending part. Intermission is a very nice organ solo that serves as a bridge to Jimmy which begins with heavy guitar riffs followed with bass and drums to accompany vocal line in mellow style.
This time the music is much ambient with great guitar riffs and melodies at the back of the music. I like the singing style that flows and fits nicely with the music from the slow part to heavier ones. Again, the singing style has characterized the music of Tool. It's so obvious. I like the part at approx where the music changes its style for a while and returns back to its original style.
Oh man, this track is great! Die Eier Von Satan is sound effect exploration and vocal narration - a nice one with "sim salabim.. The bass guitar and drums enter to give richness of the intro. Vocal flows naturally with repeated music but with different textures as it moves along. The music moves into crescendo at approximately minute 3 with richer texture and heavier music - exploring the guitar distortion. It suddenly moves into a slow part with ambient style.
Guitar fills insert nicely, followed with near-to-whispering vocal line. It's a nice arrangement, I would say. The music then blasts into heavier section with dynamic drum work and guitar distortion. At a glance this song sounds like straight-forward hard rock music. The interlude part with bass guitar as main rhythm section overlaid with guitar effects and dynamic drums is an interesting part for me. Third Eye concludes the album with a combination of progressive metal and classic rock music.
The guitar solo in the middle of the track is truly stunning - especially listening to the sounds of drums' tom at the background which help elevate the energy of the music. I think this concluding track is quite expressive in nature especially as it can be identified on their exploration of styles which change from one segment to another. The ending part reminds me to the King Crimson's "21s Century of Schizoid Man" especially on distorted vocal line.
Conclusion This album is brilliant. The band captures the elements of metal music with heavy riffs and screaming vocal into nice combination of ambient style and hard rock music. Tool music is I think a further creative exploration from New King Crimson music "Discipline" album onwards and progressive metal style.
This album, altogether with "Lateralus" and "10, Days" are highly recommended because all of them are excellent addition of any progressive music collection. Given that you are open mind with heavy side of prog, am pretty sure that you would enjoy this album as it is. Production and sonic quality of the CD are excellent.
You can get the subtleties of this excellent record! A decent stereo set does not necessarily mean an expensive one. Keep on proggin'..! Aenima is also the album that would put them where they are now when it comes to sales and fame, winning even a Grammy which the band didn't go to pick up any ways Tool was no longer the best kept secret of the underground music fan base; Tool had stepped in in the mainstream culture.
Now, all this seems like a big contradiction, how can a band that pushes the envelop become mainstream? Maybe it was the videos in MTV, maybe it was that breeze of fresh air after grunge got really predictable, maybe it was cause Tool had something to say, in the exact moment, in the exact time, or maybe it was cause Aenima is one hell of an album Sadly, not everything about this album is perfect.
How should one start reviewing a TOOL cd? I got their CD "Lateralus" first, mainly because all the great reviews on this site. After that I got Aenima, and now I am even wondering which of them I like best.
They're both awesome, but I think I prefer Aenima! Maybe this is a weird connection, but I personally feel those band share the same kind of "heaviness" and they surely all have a lot of energy to pass on to the listener.
About the Aenima CD. The CD kicks off with Stinkfist, which also was their first single and their first music video. This TOOL video are directed by the band's guitarist Adam Jones, who had previous experience in art direction and animation.
Giger's work the Swiss painter, sculptor, designer who also designed Alien and also of some movies by the movie director David Lynch. The reason why I mention their video's is that I really think you should not only listen to TOOL's music, but also let the music be accompanied by their weird video's. Fissa la mia ombra il continuo mutamento, Stendersi sopra e oltre alla mia figura. Ammansisci la mia antica armatura. Quarantasei e due sono solo il mio avvenire. Third eye. Traduzione letta Sito web.
Zombies ate my pirate ship — Alestorm. Feast of fools — Death SS. Harambe, the Pirate Gorilla — Rumahoy. Shield — Sylosis. Forty six and 2 — Tool.First of all Home was not released untill on the album Scenes From a Memory where as 46 & 2 was released in on Aenima. So if it was released 3 years earlier how could it be ripped off unless they have discovered time travel. Brendan from Hobart, Australia the bassline of forty-six & two is ripped off in dream theater's "home".