We'd go, 'OK, let's just make something up here on the spot,' and when we did that we instantly knew Justin was out guy because he fit in instantly that way."ĥ. So it was kind of like the new, improved Tool and the other stuff we did was, like, Coke Classic." Added Carey: "Everyone we auditioned knew the songs and played great, but the different thing Justin had going on was his ability to click with us in a freeform jam. "We tried out other guys that were really great and maybe even technically better, but Justin had the writing, he had the ideas, he was really artistic and he was really great to get along with. "Justin was the missing link for Tool," Jones said. Along the way, they auditioned Scott Reeder (Kyuss), Frank Cavanagh (Filter), Shepherd Stevenson (Pigmy Love Circus) and numerous others before inviting Justin Chancellor, who was a member of a U.K. band called Peach that had opened for Tool in the early Nineties, to fly in from England and try out. The band didn't necessarily want to replace D'Amour with a well-known bassist they were more interested in finding someone that was dedicated and open to experimentation. Tool auditioned some great players before they found bassist Justin Chancellor, who would play on Aenima and all their recordings since And then we had to spend four or six months just going through people trying to find a replacement for Paul."Ĥ. It got to a point where everything almost ground to a halt. He wanted to hire another bassist and we were all just like, 'There's no way we're getting another asshole in this band to deal with.' So, Paul was trying to push for other things, and as a byproduct, maybe he wasn't working as hard on the songs that we were working on. "He really wanted to be a guitar player in the band even before we started on Undertow. "When we were writing for Aenima, Paul was starting to get frustrated about not playing enough guitar," Carey explained. Tool split with bassist Paul D'Amour in part because he didn't want to play bass anymore Touring so much gave us a lot more impact, a lot more ability to translate our emotions and ideas once we became better players, which automatically came from playing nearly three years on the road."ģ. But when you're not a good player, you can have all the great ideas you want, but you can't get them out. "Once you can have that kind of freedom, an idea will come into your head and you can do it justice. "We just became a lot better craftsmen as players and that changes your sound completely," said drummer Danny Carey. Doing so made their chemistry stronger and their playing more intuitive. The simple fact that Tool were better musicians heading into the writing process for Aenima had a lot to do with the album's newly progressive directionīy the time the band finished touring for Undertow, Tool had played nearly two years of shows almost every night. I liked it, but as I hadn't really worked on that kind of heavy music too much, I thought that they may have confused me with someone else."Ģ. "They contacted me and sent me Undertow and Opiate. "Frankly, I knew very little about the band," the producer told. After hearing a David Sylvian/Robert Fripp album that David Bottrill had produced, Tool decided to give him a call. While the band liked her and felt she was a good engineer, they wanted to work with someone more creative and hands-on for their next record. The first two Tool releases, the Opiate EP and Undertow, were produced by Sylvia Massey. David Bottrill barely knew who Tool were when they asked him to produce Aenima Musically, Tool took the first major step towards becoming a true progressive-rock band, as song lengths topped the eight-minute mark and the scope of their sonic pallette defied all easily classified genre boundaries.ġ. Tool's previous EP and album plumbed the darkness depths of the human psyche, but Aenima aimed for soulful inspiration and spiritual awakening - while still retaining some of the group's characteristically sophomoric sense of humor. "Anima" is Latin for "soul" and an "enema" is, of course, a process that flushes out waste from the intestines by injecting saline solution into the anus. The title of the album hinted at its content. However, on September 17th, 1996, a little more than three years removed from the release of Undertow, Tool took an even more monumental leap, into the psychedelic, prog-metal stratosphere with the release of Aenima. They went platinum, played Lollapalooza's main stage, and their stunning videos for "Sober" and "Prison Sex" earned the band regular play on MTV, thanks to guitarist Adam Jones' visual genius and background in movie special effects. With their first full-length, Undertow, Tool unexpectedly broke into the alt-rock mainstream.
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