"Ænima" is the second studio album by the American rock band Tool. It was released on vinyl on September 17, 1996, and on compact disc on October 1, 1996, through Zoo Entertainment. The album was recorded between 1995 and 1996 at Ocean Way Recording in Hollywood and The Hook in North Hollywood. It is the first Tool album to feature bassist Justin Chancellor, who joined the band in 1995, replacing original bassist Paul D'Amour. The album was produced by David Bottrill. Upon its release, "Ænima" debuted at number 2 on the Billboard 200 chart, selling 148,000 copies in its first Read more on Last.fm.
Tool is definetly the stand out band of the mid to late 90’s. At a moment when most artists were copying Kurt Cobain and metal was a term that could only be applied loosely, Adam Jones was writing riffs that evoked a range of complex emotions. His odd tunings and dislike for soloing inspired a litany of underground virtuosos to stop trying to fill Satriani’s shoes and learn, in essence, to “serve the song ” at all costs. Danny Carey was restrained and mathematical as a drummer, elevating the popularity of progressive rock to a height it hadn’t known since Genesis decided to lose the length and Phil Collins left his drum kit. The difference was instead of being progressive rock, Tool was progressive metal. Rounded out by the eccentric, prententious and hauntingly soulful Maynard James Keenan, Tool owned the underground and broke through to the mainstream just as easily.
Aenima is Tool’s Joshua Tree, the moment where their collective skill is showcased and frozen in time, never to be matched again (sorry guys, Lateralus will never be as good). From the energy laden, career defining “Stinkfist” to the allegorical “Eulogy”, the pissed cadence of “Hooker With A Penis” ( a diatribe against Fred Durst) and the Bill Hicks tribute, “Third Eye”, the album is a collection of studied rage, subtle rather than overt. Tool’s secret weapon is that Maynard’s voice is always vulnerable in its accusations, weak yet strong, smart yet quick to judgment. This coupled the outstanding musicianship of Jones and Carey are what allowed Aenima to set higher standards for progressive music. There’s nothing showy here, no ten minute jackoff solos and “betcha can’t play this” trickery. Instead there are fifteen distinct tracks that stand to throw a wrench at convention.
Aenima is the moment where Tool established themselves as a renewable presence. The album was different enough from Undertow (the angrier yet still equally vital predecessor) that it sold tough hewn fans on the groups abiity to evolve. That evolution has continued on. To purists, Aenima is the bands epic statement. To me, its the first time I heard music breathe.