Publication: Circus
Date: March, 1997
Transcribed by
Jon (jonguitar@hotmail.com)
Jon (jonguitar@hotmail.com)
page: 42 title: Tool's Three Ring Circus Side Show author: Mitch Joel From first impression, Toolís ultimate agenda on their third release AEnima is to exasperate its listeners with its blunt perspective of the world. ìI sure could use a vacation from this bullshit three-ring circus side-show,î laments singer Maynard James Keenan on the title-track. Yet they shock audiences in a more cerebral, yet equally provocative way: through the mind. In a lengthy, scientific essay in the liner notes of AEnima Tool describes physiological effects on oneís body while itís anaesthetized. The solution of how to awaken parts of the mind ìwe might normally never useî is offered at its conclusion. ìBeliefs allow the mind to stop functioning. A non functioning mind is clinically dead. Believe in nothing...,î the essay dramatically ends. Toolís interest in the subconscious is as integral to the groupís image as their dark, metal-industrial grooves. The quartetís perception of the outside world definitely reflects inner workings. ìOur main goal when weíre together is to write music in a forum where we can involve our subconscious as well as our conscious,î says drummer Danny Carey. ìTo make that happen, we use every tool available to us, be it signals,... fragrances or whatever modern technology can supply...î Their psychological idealogy is predominant all over the AEnima CD. There are few other albums that grab you by the private parts, whack your brain around and keep you trembling in utter mystery. The post-metal mayhem that these Los Angeles maniacs have compiled shed a darker light on comedy, while trembling with pulsing beats and utter violent outbursts. All in the dayís work. AEnima retains a tribal vibe that adds to the albumís undying ferocity. Aside from their wild beats, many of the tracks are separated by interludes of ambient effects. ìProducer David Bottrill (who has worked with experimental artists like Peter Gabriel and King Crimson) was good,î says Carey in the San Diego Union-Tribune. ìIíve always listened to African music myself. Although the drums on the album are not exactly African, they are derivative of them to some extent.î Careyís skills have been honed by years of experience, as well as a range of influences. He played in his first school band in Kansas at age 10 before getting his first drum kit three years later. As a teenager, he had his heart set out for rock by listening to Led Zeppelin records in his brotherís collection. He played as a session musician for Green Jello and Pygmy Love Circus after moving to Los Angeles in 1986. AEnimaís not exactly the kind of stuff youíll see Dr. Seuss writing about either. Having first jammed in 1991, Tool (rounded out by vocalist Keenan, guitarist Adam Jones and new bassist Justin Chancellor-who replaced Paul DíAmour in 1995) has already seen platinum success with their first full-length, 1993ís Undertow. Their first batch of songs (the highly acclaimed ë92 EP, Opiate) made serious headway, knocking conventional hard music for a turn. Their intense sound and Keenanís expressive vocal deliveries carry off well in the concert medium. As the three musicians occupy themselves with building up their trademark wall of noise, Keenan is the maddening visual equivalent of their thunder. Clad only in biker shorts on the ìAEnimaî tour, 32 year-old Keenan writhes about the rainbow lit stage as if the notes conduct his every move. He has even been compared to an ìarthritic puppetî and a ìrobot made of rubberî in one of the Dallas papers. Keenanís in-concert passion might be motivated by some of the angry songs from their catalog. Tunes like ìPrison Sexî are semi- autobiographical and confront themes that have at least contributed to his make-up. As an only child to a Baptist family in Ohio, Keenan spent much of his childhood being sent from one place to another. His mother died when he was only 11 and his early days were ìtraumatic,î he told one magazine. Despite Keenanís troubled childhood, he had a heavy hand in Toolís uniqueness. Their diversity and artistic heaviness are rarely channeled through one form of art. They gain complete control over everything from album artwork to having hands-on video experience. ìIt was very important for us, from day one, to make Tool everything we wanted to see and hear out of a band,î says drummer Danny Carey ìWhen we started, everything was about image in Los Angeles and we did everything we could to destroy that. We made videos that didnít show us, or any living creature for that matter. I think itís important to get the idea across, the details, when it comes to art, is what the listener makes of it. Thatís the most important part.î Misquotes and wrong perceptions trouble Carey. ìThey make Tool seem like weíre all about the horrors of life. While there certainly is a disturbing side to what we do, itís just one aspect of it, not the entire story.î ìI donít think anybody can have that kind of rage all the time,î he laughs. ìWhile we appreciate the publicity, I think anybody who really understands Tool knows that we can be very tongue in cheek.î Tool shows a lighter side in the hysterically-titled ìHooker with a Penisî (with the future immortal line ìBefore you point your finger at me little buddy, you should know that Iím the man...so you can point your f***ing finger up your ass.î) But on a darker side of the moon, ìMessage to Harry Manbackî is based on an answering machine message by a foreigner wishing an American dead, though it is dressed by a gorgeous piano accompaniment. Many critics and some fans are not very responsive to their unique brand of humor. One issue of contention is a black-and-white hologram of the band relaxing on a plush white couch in AEnimaís booklet. The problem? A nude figure appears to be indulging in an auto-sex act. ìItís actually a girl we know who performs yoga and gymnastics,î assures Carey. ìEverybody thinks that itís the band sitting on a couch, watching another guy...itís not so planned out. We just took a bunch of images or ideas that intrigued us and set up photos or artwork to correlate the idea. Itís a step into the art world, other kinds of art.î Their ìart worldî is also transposed onto the video screen, where their still-life work made quite the stir and the first single/video from AEnima, ìStinkfist,î has followed the suit. The dark, Dr. Moreau-esque vibe of manís futile search for self is designed around modern effects and a blistering story board that makes ìApocalypse Nowî seem like a walk through Central Park...by day. ìWe took a lot of heat for that video...the song for that matter,î says Carey. ìOn MTV they call the song ëTrack #1í because they feel the word ëStinkfistí is too much for the general public. ëWatch out, everybodyís going to start running around shoving their fist into other peopleís assesí!î he laughs. While their Tarantino-type humor may be beyond many, namely anyone who takes Marilyn Manson seriously, Tool have actually manipulated and designed quite the theatrical backdrop for what has become a very serious career. ìRealistically, this was never meant to be so serious,î Carey recalls the early days. ìI think any band that gets the inherent desire to make it big, never will. You have to make music because you must make music. Itís a passion, like anything else. If you want to make money, music probably shouldnít be your first vocational choice,î he laughs. ìWhen, or if, it does happen, then you have to make it work for you. At the end of the day you have to be happy with your life. The music of Tool is very important and different to each and every member of the band. I think itís important to have a global concept together but I find it important to have our own individual ideas as to what we should be doing, or should not be doing as a band.î
Posted to t.d.n: 05/26/97 19:26:03