TOOL - Fear Inoculum

In Pauline Kael’s 1973 review of the Long Goodbye, she pointed out the differences between Hemingway and the pulp writers that imitated him. Hemingway didn’t need to state what his characters felt, because his external descriptions implied all that, but the imitators externalised everything, and implied nothing. There is a mystery to TOOL that has remarkably become greater, as they have aged, and as they have become more popular. Many have tried to imitate the four piece, and all have failed, because the imitators imply nothing, they offer it up on a platter, they accept par, they take no risks, and they fear what is ahead.

Fear Inoculum requires patience and effort. It is an 80 minute odyssey that is more than one thing, It is the sound of experienced musicians treading new ground for the first time in 13 years. It is the fear of asking a question of themselves: are we even relevant? 

The individual performances are breathtaking, as is the production of Joe Barresi. Danny Carey proves that he is the best contemporary drummer - period. One listen to Chocolate Chip Trip will solidify that. His lucid tabla drumming is incredible, and it provides a nice through line throughout the duration of the album. Justin Chancellor’s bass work locks into Danny’s patterns, and somehow at times he plays like a lead guitarist. Adam Jones is balanced throughout, he unleashes crucial moments, such as the jaw dropping solo in Descending, or the onslaught that comes after the intro on 7empest; yet he also has the song writing ability, and the ear to be subtle when the band needs him to be; when the listener requires it; and when the songs needs things to evolve, transcend or mediate. Maynard James Keenan on the large part plays a back seat, and it is the album for him to do so. There is so much instrumental and sonic depth that the listener needs to swim through, and Maynard knows when to push, and when to pull, and when to let things breath - to become Pnuema.

Some have likened the intro section to the album as a cello, however it is Adam using volume swell effects, which are not dissimilar to King Crimson’s Sartori in Tangier, and to a lesser extent Requiem from their 1982 album Beat. It is these type of textures that give Fear Inoculum an ageless quality, they are like ribbons tying up the whole history of progressive music, while pushing Tool’s sound into new, mature and exciting territories. TOOL worked hard to find the instruments that worked, and it shows. The album took a long time to put together, but the craft shines through, and the band (some more so than others) do not accept anything other than perfection.

Fear is the mind killer. The Bene Gesserit (Dune) use a Litany Against Fear spell to focus their minds, and calm themselves in times of peril. And, we are in times of peril. There has never been a better time to use what is going on around us to create, inspire, grow and to heal. Fear is the little death that brings total obliteration. The wider concept to Fear Inoculum will never be explained, but in lead up articles, various members have discussed the mythology of the number seven, and how it kept coming up during the writing and recording of the album. Then there is the theme of ageing, and the fear of remaining relevant, being a warrior, and struggling to remain consequential.

There are just enough surprise elements during the lengthy tracks for it not to become predictable, it does have a meditative quality to it, and you can almost predict when a time signature will change up, or a rhythmic change or riff will explode. The digital release includes two interludes one before and one after Invincible, the latter Legion Inoculant has waves crashing upon a shore, contributed by soundscape wizard Lustmord. There is also the less meaningful two Mockingbeat that closes out the album, it continues the strange and weird trend of TOOL messing with the listener on album closers. Mockingbeat is an effect laden two minutes that sound like equal parts monkeys and birds. Strangely though, it fits and adds to the mesmerising quality of Fear Inoculum.

Alex Grey has continued his contribution towards the packaging and art direction. Audio buffs and record collectors will shake their heads at the band balking at a vinyl release, but TOOL have never bowed down to mass appeal, they do things their way. So much so that they have only recently joined Spotify and iTunes. The CD packaging here is next level. The experience is unlike anything you will ever see on a CD again, and perhaps that was the appeal of doing it. A video screen begins to play an Alex Grey art piece as the package is opened. It can’t have been cheap to make, and it is not cheap to buy.

Much like Aenima, Fear Inoculum builds towards a storm, this time in the name of 7empest. It is a monster of a track, led by Adam Jones. Maynard gives Adam space here to flourish, much like he had done on the albums previous tracks, he doesn’t feel the need to fill every nook and cranny, like the approach on Aenima. Less is more on Fear Inoculum. 

Fear Inoculum is immersive, and it rewards and excites with repeat listens. It is a dense work of art that is thoughtful, skilful, and possesses climaxes that are well worth their wait, however lengthy they may be. Good (and experienced) musicians, writers and filmmakers know how to develop a story that evolves and builds tension, and then releases it at the right moment. It is the anticipation, and the suspense that is they key. So are TOOL still relevant? The answer to that question is a resounding Yes. 

And they will continue to be so, even if this is the last time we hear them on a record.