TOOL

So, as I said in my previous Tool review for Aenima, Tool are a "small doses band" for me. I have great appreciation for their talent & skills, but they aren't my preferred style of prog. But let's see if this one changes my opinion.

Track 1 - The Grudge

We begin with a cool odd-metered riff. At 1:15 we hit some big chords after a few lines of lyrics. At 1:45 we begin a verse, as the dynamic level lowers a bit. At 2:35 there's nothing but cymbals, then the band kicks in heavily on a vocal part. There are some cool drum fills from the highly respected Danny Carey. There is a guitar feature at around 5:30 from Adam Jones. Justin Chancellor has a nice bass riff around 6:30. Maynard lets out a big scream just ahead of the 7-minute mark that lasts almost 30 seconds, impressive, I suppose. Nice drum fills as the song ends. From a technical standpoint, it's a cool track, but it doesn't do much for me.

Track 2 - Eon Blue Apocalypse

This seems to be a brief interlude between longer tracks. There is a tremolo picked note on the guitar that fades in for 40 seconds, then there are some middle eastern-type patterns played for about 20 seconds?that's it.

Track 3 - The Patient

This begins with some palm muted clean guitar parts mixed with some wah-wah bits. The singing begins quietly at around 1:05. An odd meter riff begins slowly building as we get to the 2-minute mark. Power chords explode at 2:20. The vocal harmonies aren't bad before 3 minutes. Nice drum fills around 3:40 Things get super quiet at about 4:30. Then kick back in a few seconds later. The guitar is louder than the vocal in the mix at around 5:30. Things are really loud around 6:30, before dropping down to almost nothing for the last several seconds.

Track 4 - Mantra

Another brief in-between track. I believe something sinister is hiding in an underground cave. That's what it sounds like to me anyway.

Track 5 - Schism

Tool's best-known track. It begins with an awesome bass line from Chancellor. Jones & Carey join in before Maynard begins singing. The track is built on variations of the riff. Things get suddenly heavier at around 2:20 but goes back to the main riff. There is a quieter guitar part with delays that begins around 3:40. This part continues until 5:10 or so with vocals on top. We end with the riff and "I Know the Pieces Fit!" repeatedly except for the drum fills at the end. If I was forced to choose a favorite Tool track, it'd be this one (unless something dethrones it on the remainder of the album).

Track 6 - Parabol

Another short one, but not as short, at 3:04. We begin with some low-pitched guitar notes, and Maynard mumble- singing underneath. The bass joins along with cymbal rolls at about 0:50. Lots of long sustained sounds in this one. I haven't understood a single word. It ends by nearly fading out, before a volume swell takes us to?

Track 7 - Parabola

After some power chords, tribal drumming and vocals take over. The choruses open up the sound. When Jones takes a solo around 1:40, It appears as though there are little to no overdubs, as only bass & drums accompany it. A loud heavy vocal section comes next. Things have chilled again by 3 minutes in. I would not be surprised to find out that this was recorded "live in the studio" or at least mostly so. The guitar tone at 4:45 is so overdriven & fuzzy it lacks definition. It seems to be fading out with that along with some Bass & Drum accents. There are a few clean notes during the last few seconds.

Track 8 - Ticks & Leeches

We begin with a drum groove that is soon joined by bass. Next the guitar fades in and goes into a lead pattern. Things go into a double kick-drum pattern, before Maynard enters with a scream. I like the groove, but not crazy about the vocals, a bit too screamy for my taste. I REALLY like the rhythm that starts at around 3:00. Things get quiet with soft guitar strums following that. Wind sound effects join in eventually and then the bass and subtle drums. At around 5:50 everything pauses for a few seconds then kicks in heavily. Maynard is screaming his head off incessantly. Cool drum part at around 7 minutes in. I liked the music; the vocals gave me anxiety.

Track 9 - Lateralus

I am familiar with this one as well. I love the shifting meters in the riff. (apparently it uses the Fibonacci sequence as a road map) . Awesome drum part at 1:45, I love the way the toms are panned. I actually like Maynard's vocals on this one so far; he's singing, not screaming or grunting. This one reminds me a bit of Disturbed in approach. Nice guitar solo at 4:20. Everything but bass drops out just before the 5-minute mark. Soft guitar joins in, and a crescendo begins as Maynard starts singing. The drum part adds to the slow build. Cool groove shift around 7:20. This one is up there with Schism as far as Tool songs I like. The vocals were more enjoyable in this one, even though it was still plenty aggressive.

Track 10 - Disposition

This one begins rather calmly, with bass and clean guitar harmonics. The vocals are so soft and low in the mix that they are barely audible. Carey is playing soft percussion to give a hint of the groove, possibly tabla drums. A relatively short, quiet interlude between the 2 longest tracks.

Track 11 - Reflection

This is the longest song on the album at 11:08 We begin with a drum groove, joined by bass. Once again there is cool stereo panning on the toms. Then wait, what's this? Synth? It comes in at around 45 seconds. They are building a nice soundscape here as the song continues to develop through the first few minutes. Seriously, the synth adds a nice touch. It reminds me of the synth sound at the beginning of Tom Sawyer by Rush (an Oberheim? Synth experts help me out). The vocals start softly at 3:45, with an effect on them. The guitar part gets more rhythmic. They are being very restrained as we pass the halfway point. Things seem to be building more as we approach 7 minutes. A guitar solo begins at around 7:40 with sustained notes. This track is almost trance inducing. Things get heavier with power chords at around 9:20. They bring things back down for the final minute. This is a standout track on the album. I am starting to enjoy Tool a bit more here.

Track 12 - Triad

I believe that this one is meant to be a collage of various Tool tracks. We begin with wind sound effects, and a rhythm fades in. The drumming is tribal in its approach. Jones is playing sustained notes that degenerate into feedback. The bass, drums and guitar sync up on a rhythmic riff at around 3 minutes in. Things quiet down at around 4:20. If there are ideas from previous Tool tracks here, I am missing them, due to lack of knowledge on the topic. But as an instrumental, it worked for me/

Track 13 - Faaip De Oiad

Electronic buzzing and sound effects kick this off with a Carey drum part WAY in the background. I believe this is supposed to be a radio transmission from area 51 discussing aliens or extra dimensional beings. This sounds like it should be in a Sci-fi/horror movie. I could have lived without that track closing the album.

OVERALL IMPRESSIONS:

I liked it more than Aenima which I just found to be OK. Some of this album was still more aggressive than I prefer for my taste, but there are 3 standout tracks that I especially enjoyed? Schism, Lateralus & Reflection. I gave Aenima 3.5 stars. I think I'll give this one 4 stars. Still not one of my all-time favorite bands, but it was quite good at times.

I'll rate myself a level 2 for Ænima by Tool. A friend of mine made me a CD copy of this album and Lateralus several years ago, but I rarely played it. I have an immense amount of respect for their musicianship and will enjoy a tune here or there on occasion. But Tool have always been a "small doses" band for me. Let me try to give it a fresh listen.

Track 1 - Stinkfist

Some soft percussive sounds establish a rhythm, followed by guitar feedback. This gives way to a heavy Rage Against the Machine type of groove. I have never been a big fan of Keenan's vocal style, but it's tolerable. This one is kind of repetitive, so far. The bass takes center stage after about 2:30, then guitar over the top. A variation on the riff happens around 3:40. The vocals are kind of in the background here. Not bad, not great.

Track 2 - Eulogy

A similar start to the first track, with soft percussion establishing a rhythm. The music begins to build very gradually. Guitar joins at around 2:00, followed by vocals with an effect. The music opens up at around 2:40. After the first chorus, the vocals get the effect again. The effect alternates with non-effected vocals. A guitar solo begins just before 5 minutes, then the bass takes over. The guitar riff and vocals come back in and carry the rest of the song.

Track 3 - H.

Big power chords start this one. Things chill out to more subtle playing when the vocals begin. Adam Jones sure likes pick scrapes?lol. Interesting accents during the verse. There is a 4-note guitar ostinato over the rhythm section around the 4-minute mark. I like the groove starting at roughly 4:45. Tool are good at creating moody soundscapes.

Track 4 - Useful Idiot

Just a brief 40 second interlude here. Sounds like static on a record, getting louder.

Track 5 - Forty-Six & 2

A nice riff to start us off. Maynard's vocals are kind of buried at first, then things open up at around 2 minutes. This one has a bit more complexity, rhythm-wise than the first few. We go into a 7-8 rhythm at around 4 minutes. Nice! This is my favorite track, so far. Pretty cool polyrhythms at around 5:30.

Track 6 - Message to Harry Manback

A soft piano and a voice that sounds like it's on a telephone. Can't understand all of it, but several F-Us in it. Only about 2 minutes long

Track 7 - Hooker with a Pen!s

A few seconds of sound effect then the riff begins. A bit reminiscent of Summertime Blues, but not exactly. High tempo. The rhythms keep changing. Lovely lyrics, lemme tell ya! Maynard has some issues he seems to be working out here?lol. I hope he's gone to therapy since.

Track 8 - Intermission

Some cheesy organ provides some comic relief after the last rage-fest.

Track 9 - Jimmy

A heavy guitar with a shifting complex meter opens this one. Some more mellow sections on this one that always seem ripe to explode at any moment. We seem to have locked into a 3-4 for a while now. Yep, the music exploded around 3:45. Pretty good track

Track 10 - Die Eier von Satan

Another short connecting track here, I believe. Electronic sounds with a rhythm, joined by guitar. Spoken word in German, I believe. Have we found an unused Rammstein demo? It starts sounding Hitler-like?Kind of scary.

Track 11 - Pu[&*!#]

The second longest track at just under 10 minutes. More electronic sounds at the start of this one. The vocals start kind of quietly over the riff. The meter is complex. I believe this one is going to be a slow burn. It builds up one level around 2:45 in. Lots of anger again. Rhythm shift at around 4 minutes. A bit of a mellow interlude just before 5 minutes in. The dynamics increase at around 6 and a half minutes. Adam Jones' chords get less-restricted here. After a question-and-answer type section between instruments and vocals, the tempo increases before the ending.

Track 12 - Caesaro Summability

Baby crying sounds and then sound effects at first. Jones is doing a thing that sounds like a racecar accelerating.

Track 13 - Ænima

A whisper precedes the opening guitar riff. I haven't mentioned Carey's drumming, really but he's had nice grooves throughout, including the tom-tom beat here. Once again, Maynard has lots of angry F-Bombs for us. It was the 90s. Many a rock band was pissed off about something weren't they? Cool drumming at around 3 minutes in. Cleaner guitar around 5 minutes in. A big explosive ending section.

Track 14 - (-) Ions

Wind sound effects fading in at the start. Possibly a plane flying overhead? Some electronic buzzing joins the mix after a while. Thunder, now? A 4-minute sound effect interlude, I think

Track 15 - Third Eye

A big epic length closer here at nearly 14 minutes. Bill Hicks, the late comedian is doing a routine about musicians taking drugs. I believe Tool used to have him for an opening act. A bit more Bill Hicks?. The music is bubbling and building underneath, led by cool Carey drumming. Jones comes in with slide guitar, then gives way to the vocals. 6- 8 rhythm. Some screaming, then a slight shift in feel, while still in 6-8. Then we get some middle eastern style guitar licks for the solo. The rhythm section is insanely holding everything together. Justin Chancellor is quite the bassist as well. Call and response with power chords and whispered vocals in the middle of the song. Everything drops out except subtle bass drum and very soft vocals. We blow up at just under 9 minutes. More angry vocals then they bring it back down. I like what's happening at around 12 minutes. A huge ending is building up for the album. I like it better than the part where he is screaming about his 3rd eye that follows. But then the song ends in an explosion of power chords.

OVERALL IMPRESSIONS:

Pretty good. The weakest tracks (excluding all the short interlude parts) were at the beginning of the album. It got better as we went along on the main tracks. I'm not sure what the need was for all of the little filler tracks was, but it drags things down for me. I stick with my previous assessment that I like Tool in smaller doses. And boy, there is so much anger here. All in all, I give high marks for the playing, but the lyrics/subject matter/mood of the album makes it difficult for me to listen to very much. 3.5 out of 5 stars. (a bit of a theme over the last few albums?)

Clicked 3 but really 3.5.

Salival is the first and unfortunately only live album by TOOL. I say unfortunately because this is really, really good and left me wanting more and I'm not even a big TOOL fan. This album is has mostly original material on it and God damm this must've been one hell of a show. The album opens with one of of not my favorite songs by them "Third Eye" it has a new intro and imo it flows better than the studio version, the ambient section always killed the paceing of the song but this version is slightly altered. The next track is a song from their debut EP "Opiate" the song "Part Of Me" and sounds better than the studio version, it's much more aggressive you could say it has more much more room to breathe. The next song is the final track that shows up on any studio album, the rest are originals/covers. This version of the Ænima track "Pu[&*!#]" is a slower more tribal jam with a slightly longer runtime clocking in at 13 minutes, this is probably an unpopular opinion but I was never the biggest fan of (the studio version) but here I much prefer it. There's a quick interlude "Message To Harry Manback 2" not much to say about it other than it's creepy but an interesting track nonetheless. "You Lied" is a cover of a PEACH song, aka Justin Chancellor's old band and this song is a highlight for me, BUZZ OSBORNE of THE MELVINS shows up as the second guitarist on this track, Maynard's vocals are also really good here. Merkaba is one of the strangest songs by the band, it opens with this percussion sounds like it could be a xylophone or marimba, the song turns into a drum solo that's layered with a repetitive vocal sample and psychedelic effects, the song sounds like the older brother to Chocolate Chip Trip from the Fear Inoculum album. The next song is a cover of the legendary LED ZEPPELIN song "No Quarter", like the "You Lied" cover they remake the song in their style, it's dark and atmospheric the song has an extended instrumental section making it 11 minutes. The album ends with (what I believe was a hidden track on the CD) is L.A.M.C a skit type track with these dare I say creepy sounding repetitive (I think there call hammer strikes but don't quote me on that) the whole atmosphere is just off, for lack of better words. The next song is a personal favorite of mine "Maynard's Dick" it sounds like a parody of the alternative rock at the time and it's hilarious. But overall this is probably my favorite TOOL release, the instrumentation is amazing, the tones on the bass and guitar are phenomenal the drumming (like always) is on point and the vocals are insane Maynard in his prime, this has honestly become my favorite TOOL album I don't understand why both Prog Archives and RYM have this rated sort of low

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. "Pu[&*!#]" 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.

The flawed masterpiece.

(This is all based on my personal opinion!)

While tool is not the band that I typically consume, I understand why people adore them and consider tool as "Prog Giants", and I always see Lateralus hailed as one of the greatest records that graced the prog scene.

For me, this album is one step away from being a masterpiece. Some songs like Parabol/Parabola, The Grudge and Lateralus are some of the finest the band has done that are just as good as songs in Ænema, such as Third Eye, Hooker with a Penis and Ænema!

So why do I consider it a flawed masterpiece? There are two reasons. First of all, the track list is kind of a bowl of spaghetti, and Lateralus feels like it should be a concept album. Some of the tracks share the same meaning, and I feel like if re-arranged, the track list could be stronger and could make a really good concept album!

Second of all, the final four tracks. Don't get me wrong, Disposition/Reflection/Triad is a great medley of songs, I just feel like it doesn't really fit with the rest of the songs, because it works much better as its own thing. If it was released as an EP, then I'd be happy with that! But Faaip de Oiad? Yeah, that song is just pointless.

So overall, while I don't consider it a masterpiece, it's still a really enjoyable album here and there, it just happens that I think its not the best. 3/5!

Disturbing and convulsed, with that mysterious halo that Tool has always made a trademark of, "Lateralus" is an exercise in overflowing and contained nuclear energy, and that goes hand in hand with the permanent sensation of balancing between the limits of sanity and madness. Where the hypnotic and claustrophobic share and exchange roles permanently.

Going into unknown territories is what "Lateralus" generates the most attractions, the uncertainty of not knowing how far the proposal can go, allows tension and suspense to be maintained throughout the album. And with very careful production, no detail is left to chance.

Just to cite a couple of examples: the raw "The Grudge" to start hostilities; the complex and intricate "The Schism"; the whispering "Parabol" that precedes "Parabola"; the fast-paced roller coaster that is "Ticks & Leeches", the perfect excuse to show off Danny Carey's solid percussion; and the volcanic and extensive "Lateralus"; all the songs follow one another unhurriedly, but consistently, with the solidity of a concrete wall. And of course, with the impeccable guitar full of distortions and artifice by Adam Jones, the perfect communion with Justin Chancellor's bass and the always anguishing voice of Maynard J. Keenan.

"Lateralus", in my opinion, is one of the great albums of the 90's from one of the subgenres furthest away from the typical epicenter of progressive; and if not the best, one of the best expressions of Tool in his very short but outstanding and intense discography.

4/4.5 stars

For a band with the stature that Tool has, writing my usual two-paragraph intro feels almost superfluous. They're one of the most popular progressive metal bands of all time; their first four studio albums all went platinum multiple times over and are critically revered. They mixed the darker sound of early '90s alt-rock with progressive ambition and mind-bending psychedelia to forge a unique sound that resonated with a huge swathe of the population, myself included.

It shouldn't be a secret that I love all of Tool's previous output, with their 2001 album, Lateralus, being among my all-time personal favorites. The long-running delays and recording difficulties since their last release had become a punchline among fans, with Tool's as-yet-unreleased fifth album being considered as imminent as Half-Life 3 or The Winds of Winter. But Fear Inoculum has finally arrived, 13 years after their previous release, 2006's 10,000 Days. Most reviews I've seen, as well as general online discourse I've observed, has tended toward rapturous praise. I'm not among those.

Yes, the songs are long and complex; and yes, the instrumentalism is weird and top-notch; and yes, Fear Inoculum sounds like a Tool record. However, it feels like Tool resting on their laurels. It feels like a computer program that listened to their albums and output a bland imitation. It feels like a Tool cover band that tried writing some originals.

Perhaps that was a little harsh. This album certainly isn't bad, and there is some genuinely fantastic music here. But overall, I'd classify this record as okay-but-boring. It feels really safe, like the band didn't want to take any real risks.

Fear Inoculum opens with its title track. The percussion is engaging, and Justin Chancellor's bass has its usual biting, echoing quality. But the guitar has a strange, groaning character which I can't say I'm wild about. Maynard's vocals feel weirdly thin and washed out, which is the last thing I would have expected. There are elements of a stronger song here, though. The last couple minutes are better, driven along by a more to-the-point riff and a strong solo. If they'd more aggressively taken a knife to it during the writing process and trimmed it down to six or seven minutes, instead of ten, perhaps it would have been more engaging.

I could repeat the preceding paragraph for most songs on this album: too long, too plodding, weak vocals, too much atmospheric buildup to a less-than-satisfying climax. The biggest sin of this album, even moreso than playing it "safe," is that it is boring outside of its handful of strong riffs. The weaker moments remind me of Mastodon's last album, in that it feels like an imitation of songs I've previously heard from the band.

(There are also a number of brief, instrumental interludes between the longer tracks. These are just bad and only annoy.)

"Chocolate Chip Trip" is not one of the better songs in Tool's discography, but it's the first point on this album where they sound like they were taking some risks. It's a weird instrumental consisting of just synths and drums, and it goes on for a minute longer than it should, but at least it's something different.

Fear Inoculum ends on a strong note, at least. The album closes on the stupidly-titled "7empest", which despite its title, is the best track on the album by a mile. The guitar snarls in a way that grabs you, and Maynard finally gets a chance to belt it out. The song's segments flow together seamlessly, and the aggression sounds genuine. This is what I had hoped for from the band. Recognizably Tool, but it sounds fresh and inventive with no wasted space. It is becoming of its 15-minute runtime, with no padding.

It's unfortunate that so much of Fear Inoculum wallows in middling ambiance and safe Tool-isms. Throughout their entire career, they've pushed the envelope, but their long-awaited comeback certainly is not worth the 13-year wait.

Review originally posted here: theeliteextremophile.com/2019/09/16/album-review-tool-fear-inoculum/

Their first LP, Undertow (1993) is the album that put Tool on the map, featuring one of their biggest hits, "Sober". Certainly then, by enough accounts, a highly successful debut. My problems start here, as the Tool Problem starts here: too long, not enough substance for me. At least this is my feeling going in. [And coming out.] Last time I listened through their discography, it was my first time, and I listened through their discography. Absolutely exhausting haha.

"Intolerance" starts off the affair with their style, now well-known, put firmly and pretty strongly in place. A lot of good things here. Not super, though. One of the other better-known songs is next, the awfully Tool-entitled "Prison Sex". This'n honestly has a very cool main riff, starting us out from the void. Keenan has a pretty interesting melody here in the verse. But in that, its potential is lost by just being plain flat, static. This is the mode Tool takes unto themselves that I find most unappealing. Our song's bridge begins right around minute 3, a very cool, ominous shift in tone. Then it's back to meh.

On we are to what always felt like the main event, the not-surprising radio hit "Sober", a song I genuinely enjoy and have of course known for as long as I can remember. A winning melody, eerie lyrical content and plenty of Alt Metal beef. The most progressive this one goes, though, is with loud-quiet dynamics. Next is the heavier... and I did not try this... the heavier "Bottom" haha. Unlike Opiate before it, Undertow is the start of more longform material for the band, everything falling right around 5 minutes or more. "Bottom" comes in around 7 minutes. I frankly don't recall this one. There is a classic slowing, reminiscent honestly to me of some of the earliest Heavy Metal, to early Black Sabbath. And with this change in feel comes a very-Tool section of ambience, fitted honestly very well with a still-surprise Henry Rollins feature. This will be familiar tonally to certain tracks from his Rollins Band, in my opinion one of the best Alt Metal has to offer, and at times equally as progressive and daring (my favorite has always been End of Silence). Anyways, pretty good. Still not much in the way of a Proggy wow-factor, though.

Slowly exiting the first half, our next track is "Crawl Away". This has some of the best guitar work yet. Sort of gives me early Stone Temple Pilots feelings. Which is a good thing. I love Core, frankly. But I was curious, coming off of Opiate, how much post-Grunge would come out of this one with my second listen-through. In other ways, through and through, this track is a new favorite. Of course Carey is on fire. But everyone here is working impeccably together. Progginess maybe still wanting for some. But I'll gladly take a good track regardless. Entering into a far-less-than-favorite, we have "Swamp Song". Just boring; another track that just couldn't possibly be saved by a more-than-decent bridge. Onto the title track, "Undertow" has some spunk. And a lot of Tool. But this one also, on a positive note, has some of the more unique guitar work as well. Another breakdown bridge here, which has some positive results.

On the backend, we have a track I remember pretty well, one of the sure highlights in my opinion, "4°". Eastern influence clear at the start. The majority of the track is nearly played clean, and Keenan sings more melodically here than most tracks. This near-instrumental bridge certainly has nothing to save haha. Features some, again, Eastern percussion. It's not a wildly experimental track or anything, end of the day, but it is good. Next we have "Flood". Low and slow start... and pretty much nothing happens for about 4 minutes. Yawn. Shifts around then in its second half, but I'm just not enthused. Finally, we have the otherwise only ~7 minute-long "Disgustipated"... Great name, guys. We love it.../s This is the most experimental track by far, featuring sort of Industrial and other various, nontraditional sounds. It's not really doing it for me though. I'd rather listen to "Revolution 9". Also, the lyrics I can hear just strike me as cheesy. It's not really a hidden track to follow, just 7 more minutes of crickets. Interesting choice. In general, I can get behind it.

A rarely rounded-up True Rate of 2.5/5.0.

Lest we forget that "Tool" is not at all subtle code for genitalia, Keenan and Co. give us plenty of unabashed, adolescent cringe on this, their first major-label release (Zoo Entertainment, 1992). The Opiate EP features a few tracks previously found on their true debut, 72826 (1991), a title phone-coded to mean "SATAN". Preceding their more progressive, (slightly) more compositionally adventurous material, much of this EP has positively of-the-time sonic choices. You may be able to compare it to other Alt Metal acts such as Helmet or even (eventually) Deftones. The first thing that may be noted is the lower quality recordings, resulting in a more quiet and muddy release.

"Sweat" is our opener, a firmly Alt Metal number featuring decently memorable melodies and solid performances, most notably from drummer Danny Carey (shocker). His performance provides some major groove and general rhythmic interest. Most interesting of all to me is "Sweat"'s appearance on the OST to the much-later-than-I-thought Escape From L.A. (1996). "Hush", next, features some big, classic metal riffs and a pretty stellar vocal performance from Keenan. Not a lot of interest here, perhaps peaking with a sort of breakdown at the end. We return to rhythmic interest on "Part of Me", so much so that it could very well have been a mid-period Rush track at times. The chorus reveals some Post-Hardcore roots, also shining through on some of the guitar work in riff and melody. Post-Hardcore always had plenty of potential for experimentation. Pretty good.

"Cool And Ugly", a live performance, begins with the call to "Throw that Bob Marley wanna-be mother[%*!#]er outta here." Doesn't that just make you feel warm and bubbly? Anyways, decent Metal riffage. But pretty meh, pretty lackluster track ultimately. Worst of the bunch? [Yep.] This performance seems to go right on into our next live track, "Jerk-Off", another return to some interest, methinks. There are some stylistic markers that definitely feel like a glance forward into material off Undertow (1993), especially with the more free, softer vocal performance. Keenan jumps back and forth between this and, moreso, punky atonality. The bridge here has something going on, but not a whole lot to save the track's single-minded nature. Finally, the title track, "Opiate", a continuation of that melodic, softened vocal style. This is also the second track that strikes me as, admittedly unsurprising, post-Grunge affect. Alright if you don't hear it, but there's much that sounded like this in the coming years, enter the mid-90s. Some of the melodies didn't age too well to my ears. Corny. Slightly longer-form at maybe 5 minutes (featuring a hidden track), "Opiate" wavers in and out of post-Ambience. The rolling drums around the middle mark is definitely one of the greatest moments on the album. This hidden track has a surprise psychedelia about it, "The Gaping Lotus Experience", which at times also reminds me weirdly of some of the vocal absurdities of Frank Zappa(?). There are certainly higher compliments from the possible comparisons one can make to Frank though.

Anyways, fairly decent early release.

We had to wait thirteen years for Tool to offer us the follow-up to the successful "10,000 Days" with this dense, simmering "Fear Inoculum".

Unfortunately, much of the grit of the past was lost on this record. It may be because of the lack of punch in Keenan's voices, or because sometimes it seems that we are listening to a rehash of previous albums.

The fact is that despite the undoubted quality of all the musicians, "Fear Inoculum" is the first Tool album that has hardly surprised me at all.

In any case, the return of this band is always cause for celebration. Let's hope it doesn't take so long for the next one!

Best Tracks: Pneuma (perhaps the best song, compositionally speaking), Invincible (my personal favorite) and 7empest (absolutely impressive guitars)

My Rating: ***