ÆNIMA

As I've likely insinuated in Tool reviews past, when I last listened through Ænima, or any other Tool release, I not-so-begrudgingly, yet very-much-regrettably, listened through them all in a very short period of time [a few days]. Talk about burnout. Or ear fatigue haha. Tool is a band that I simply love to hate, and I'm blessed to have friends that can at least take it on the chin. But that 'hatred', whether warranted, legitimate or otherwise, may as well have started then and there. But here, with their second LP in 1996, things are certainly looking up for the band; honestly, they do seem to figure something out with each subsequent release. Going into this, though, no promises on being nice (as usual).

The album begins with the hit single "Stinkfist", one of those successful tracks which has floated around for much of my Millennial life. And happily so. The percussive guitar at the front is fantastic. Low and slow enough for feel, but with a mean Alt-Metal-meets-many-Prog-greats groove thanks in greatest part to Danny Carey behind the kit. Justin Chancellor on bass fills things out very well with a beefy drone, and I think this is one of those obviously great vocal performances from Maynard James Keenan. I'm hoping to appreciate more out of the guitar here, the element that (along with bass, frankly) I don't really think much of: and this track is an awesome showcase of Adam Jones. It's not all chugging, but features some really lovely melodicism and heavy sonics for the time; I'd be surprised if bands from Deftones to Sevendust hadn't taken a few notes. "Eulogy" next begins with a robotic chirp and what I assume to be a polyrhythmic sticks-hit (like the kind Steven Reich used in "Music for Pieces of Wood"), which evokes an Eastern (Raga-esque) vibe. Good example of Tool's longform, loud-soft-dynamics style, which I'd consider a norm, an expectation. Overall, and again, beefy and groovin'; and generally a success.

"H." was the album's second single, and right off the bat, I have to say, this feels an odd choice for one... With the working title of "Half Empty", and the identity and general meaning of "H." speculated since its release, Keenan's mentioned the old devil-angel-duo-on-shoulders bit as a clue, and that it's the middle initial of his son. Anyway, not much my thing, although the more 'alternative', borderline radio-friendliness of the track is distinct for them. This is interluded via the lightly harsh white noise of "Useful Idiot" into "Forty Six & 2" (not a Chicago cover, I promise you). One of three or four tracks which should be recognizable from here, it was Ænima's fourth and final single. Great, memorable melody over another East-meets-West driving drone; honestly, love this chorus. Compositionally only minorly interesting, but who cares? Cool, great song everyone should know.

"Message To Harry Manback" is a melancholic piano interlude featuring a voicemail. I feel nothing about it and it now just feels cliche. In all honesty, never would have thought much about their lyrics, but I guess I just had to know with the uncomfortably Tool-titled "Hooker With A Penis". It's not all bad: a very angsty f*ck you to our subject, I guess. It feels like punching down, but that's not exactly what we're all here for. It's plenty cringey though... Yep. I hope it's somewhat ironic, but just yikes. This is followed by "Intermission", a track I genuinely like... since it sounds nothing like Tool ha! The track is entirely instrumental, strictly featuring Eban Schletter on an organ (my brain goes to Wurlitzer). A nice intro to "Jimmy", another which I've historically, and actually, enjoyed. Low and slow groove, ya know, that one Tool thing, but the cymbal play by Carey is certainly tasteful and fun. And the bridge, not to mention the great closing of the track, really is the thing that saves it from being that very boring norm; a big'n; praise be.

Next is the overtly Industrial, and surprisingly funny, "Die Eier von Satan" (The Eggs of Satan), which is a spoken word baking recipe. And despite the name, the eggs are excluded in the end... LOL. "Pushit" begins with that canned vocal which I honestly think is just so schlocky now. I prefer obvious, aware and in-on-the-joke schlock; it just feels like Tool are constantly saying, 'Pretty awesome, right?' At nearly 10 minutes, my brain let out a little scream before it started. This is generally the opposite of what I need from Tool: I'll take less, please, and thank you. 4 minutes of boredom is followed by some peace and quiet, and honestly, this middle section was reminding me of a less cool Ozric Tentacles, with the guitar's clean echoing. On the return, nicer than the start, Danny Carey is naturally the treat to enjoy. On "Cesaro Summability", a baby's cries feed the static, a dystopia dropping to complete silence. Then we get the title track, "Ænima", and I'm enjoying it more than my memory served it. Tool is one of those bands where I'm occasionally unsure if there are actual verses per se, but that compositional uncertainty is really working here. For them especially, more is more. Oh yeah, and Carey is once again set ablaze atop his fiery throne.

Approaching the long-time-coming end to the album, next is "(-) Ions". A fitting title, they utilize the apparent found-sound of a loud electrical current's whirring and snapping. I feel... safe? We're in an electrical thunder storm, but I'm indoors. Honestly, pretty interesting for them. Is it a song? Sure! [Tough listen though.] And onto the final track! My first guess with "Third Eye" is that it's a play on the 'one-eyed monster' some of us have below the belt (statistically likely to be the vast majority here haha). But nah, just a terrible acid trip story, although ever-fittingly, over the course of 14 minutes of dark psychedelia. It opens with an eerie vibe and a Bill Hicks monologue about being "really f*cking high on drugs". At the top of this 2-minute slow-go crescendo, the drum figure Carey uses throughout then reminded me of "Ghost of Perdition" by Opeth, 9 years later (not like it's wholly unique anyway). The song definitely fits into Psych at large, again fittingly so. Just moreso horror inducing; speaking of, more and more impressed with some of their lyrical content. Thankfully, it can't all be dicks, sh*t and ass jokes, can it(?)... Still, I'm grateful it's over. It's the Tool thing: way too long, regardless of how good it can and has been.