Call it heavy edutainment or rifftastic self-care. Doing so allowed listeners to access gut pleasures with the pretense of mind expansion. Part of Tool’s appeal was that it took metal’s fantastical pangs-previously rendered with dragons, wizards, sci-fi, Satan-and seemed to dignify them by drawing on rule systems: science, philosophy, religion.
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That connection is coincidental, but it isn’t meaningless. That video was, naturally, drawing the connection between Peterson and Tool. One YouTube video I recently came across made the insightful point that that song ends with all the instruments banging on one note, surely to represent the narrator’s arrival at inner unity. their suppressed creep, into their waking self for a transcendent sizzle. Back in 1996, Tool’s Ænima took a stab at doing the same, with the hypnotic swirl of “Forty Six & 2” describing exactly the process Peterson now touts: integrating people’s “shadows,” a.k.a. Jordan Peterson, the much-debated Canadian professor-preacher, has repurposed ideas about anima and ego for a new generation. BTS, the Korean pop sensation, named an album trilogy after the German philosopher’s schemas. Maybe Tool planned its return after noticing that Carl Jung has made a big comeback. Listen to the mantras of the present moment-the gurus as politicians, the social doctrines with radical diets, the astrology craze, the conspiracy theories, and the suspicion of reality as a simulation-and you hear the frontman Maynard James Keenan’s grumbles. With its churning riddle-songs, Tool swirled psychoanalytic ranting, evolutionary pseudoscience, and omnibus spirituality as a reaction to modern tech-assisted burnout. But certain elements land more queasily-not because the band is out of time now, but because it chimes with the 2019 cultural moment in deep and not-totally-reassuring ways. I’ve now gone back and listened to the music I obsessed over in high school: It’s still deliciously huge and transporting. Pent-up demand and nostalgia from its cult surely help explain Tool’s sudden charts takeover. Later, the group announced a new album (debuting on August 30) and released its title track, “Fear Inoculum.” With its 10-minute, 22-second run time, that song became the longest ever to land on the Hot 100-an especially fun feat in an era of generally declining song lengths. Five of Tool’s releases immediately entered the top of the iTunes sales rankings, and the band became the first ever to occupy all 10 leading spots on Billboard’s Rock Digital Song Sales chart. Even many of the onetime diehards (ahem) let their devotion lapse when their CDs scratched and their iPods fritzed.Įarlier this month, though, the band flung open its survival-shelter doors and put the bulk of its music online, finally.
TOOL AENIMA ALBUM SALES DOWNLOAD
The band kept its music off streaming and download platforms.
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Nor has there been an easy way for it to be rediscovered and redissected since its absence. If Tool was a best-selling alternative to a mainstream branded as alternative, that’s not a paradigm that computes anymore. Rock still matters, but as a rumor, an input, in the ongoing brainstorm-between rap and everything else-that represents American pop today. By the time the band’s frightening bass lines and abject-trauma themes had been sucked into a popular nu-metal movement lacking mystery and brains, 2001’s Lateralus fell from the sky like a 1,000-page New Testament, or at least like a textbook dusted with DMT.īut today, even the wave of car-commercial guitar pop that was cresting around the time of the band’s 2006 motley, 10,000 Days, has crashed and dissipated.
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As grunge issued a culture-wide call to bond over psychic wounds by comparing calluses, Tool responded with gnarlier body-and-soul horror than many were prepared for. A heavy-metal giant is awakening from a 13-year slumber, but does the domain it once ruled remain? From the early ’90s to 2006, the foursome of Tool stood as a rock-and-roll epitome when rock and roll was a social average.