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Hardline: If you own any of Tool’s later records and not this one, you’re doing it all wrong, and there’s at least a million fans who will tell you that. Most fans would put this at the top of the list because of its mix of average length rave-ups (“Stinkfist,” “Hooker With A Penis”), full-blown sonic adventures (the 13-minute-plus paen to higher consciousness, “Third Eye”) and weird asides (“Message To Harry Manback,” “Die Eier Von Satan”).Īssuming you actually know somebody completely unfamiliar with Tool, Ænima remains the essential gateway drug, encapsulating where they’ve been and where they would go next. Lots of changes here, with Chancellor replacing Paul D’Amour on bass and the band collectively delivering far more menace than anything they previously committed to tape.
#Tool aenima album history drivers#
1)”) and some drivers (“The Pot,” “Rosetta Stoned”), but the album doesn’t have the captivating resonance that has marked the mind-movie aspects of Tool’s later output. There are some respites here worthy of respect (“Wings For Marie (Pt.
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The record that showed up 10 years after the release of the game-changing Ænima doesn’t adequately convey the head-swiveling characteristics of that album nor does it take you to weird phrenological spaces the way Lateralus does. Much of Undertow doesn’t feel like metal (“Bottom” is still quite cool), but the band are starting a strain of weighty rock music devoid of the cultural/commercial signifiers at the time. The band’s first full-length release appealed to listeners who somehow made the shift of replacing their dead cassette copies of Diary Of A Madman and Appetite For Destruction with Louder Than Love and Nevermind. city limits were expected to worship anytime soon. Not something to be derided, but a launch point for a group nobody 300 miles outside of L.A. The big discovery is Keenan’s vocal prowess, which is loud, proud and clear with no fear, devoid of both Cobain-esque roughness or de la Rocha-ish yell lectures. The band’s first release, a six-song mini-LP, feels like a snapshot of the time period, a Venn diagram of Jane’s Addiction’s psychedelic metal and Helmet’s riff-consciousness circa Strap It On.