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I know it sounds weird, and it really is, but it contributes immensely to the band's artistic expression. All of a sudden a guy with a strong East German accent begins to give the recipe for something which I fail to understand and after listing all the necessary ingredients he just says something along the lines of "Now put all these things and bake it in 200 degrees, just without the eggs of satan". It begins with chunky bass and industrial beats, and the sound is incredibly huge. The most interesting one of them all, however, has got to be track ten, "Die Eier Von Satan", which means "The Eggs of Satan". Some of the pieces have been put on the disc to enhance the unity, such as the static hissing of "Useful Idiot" the weird piano track "Message to Harry Manback", where an Italian-accented immigrant who has allegedly been deported from the country relays a hateful message about the American government the slightly goofy analog synths of "Intermission" or the hysterically crying babies with sickening guitar feedback of "Cesaro Summability" are all pieces under the two-minute mark. There are fifteen tracks on the album, but not all of them are songs per se. This dreamy aura is then replaced as the band pick up pace and aggression towards the end. This song has an amazing intro with awesome drumming and there is a killer guitar line in the middle where the same note is repeated over and over until it becomes addictive. He goes from fragile low registers to tortured screaming on "H." in order to match the flow of the song. Maynard's singing is more versatile than both Opiate and Undertow combined. The weird sounds and eerie percussion in the intro of "Eulogy" suggest a somewhat droney track, but with the arrival of a big bass motif and processed vocals, the tone escalates to impossible heights, resolving with a richly melodic chorus and dense guitar theme blanketing the almost incomprehensible spoken rants atop weird effects and clear bass lines. Each piece is defined by thick threads of colors and inventive instrumentation. While I agree Tool's music is quite hard to decipher on first listen, the diversity in each song is astonishing. Starting with "Stinkfist", the album opener, the bass sound is ever-present, deep and growling throughout its five-minute course, a midst crackling effects, cool percussion, and effect-laden guitar sounds all of which serve to highlight vocalist Maynard Keenan's light verse/heavy chorus dynamics. On the contrary, Chancellor's bass, along with Danny Carey's precise drum work, is still central to the songs, as Adam Jones mostly builds his guitars around his ferocious rhythms. Even though former bassist Paul D'Amour is now replaced by Justin Chancellor, the bass parts on this album do not lack a single thing. As with every Tool album, the band puts forth thought-provoking lyrical messages in their songs, rendering them more powerful through creative musical passages and compositional ideas. On Aenima, Tool continues to explore the depths of the human mind and soul, touching on themes such as pain, frustration, guilt, and social decay. Otherwise, like some people tend to do, you may just write them off as a pretentious act who are terribly overrated by their fan base, which would be a big loss for you. Once you've internalized their earlier work, you can come to Aenima and spend quite some time with it. It may take months or even years to fully absorb it, and you are well advised to start with Undertow if you have never heard any Tool before. It is a lot more complex and harder to digest. Compared to its predecessors, Aenima is a completely different beast. Review Summary: Tool's astonishing breakthrough albumĪenima is Tool's major breakthrough work.