Expectations Tool and the Claim of the Conceptual Disk
Mouth plug for the old Taliban rock. He did not finish, here his menda, old purist rocker, to preach in this space – and on the subject of Jimi Hendrix – the absence of conceptual works within the current great market of popular music of the eternal era of the postrock, when a kind and wise Melómana friend Metalera de colorado, @Dusk Esthep, sent me the recording Fear Inoculum of the American band Tool.
And, chin pum quas, that I realize that I had been wrong back and forth with my old-fashioned ruckeño judgment and that I bite my tongue and that I have to swallow it with jets of purifying blood!
After seeing my quasi-senile skid, I put on a good mechatazo of artisanal mezcal, to close the self-inflicted wound and then I sang this Mea Max Culpa in writing.
I watered it, my friends, and that is why I correct my judgment with this judgment, sorry.
What a thing, boy! This concept of every concept of Tool with Fear Inoculum moved me and unhinged me to the roots! Suddenly I took away the donkey of the old tantrum I am, to start flying dancer and flyer and jovial in plan meta-cha-cha-cha rocker and now! Ligerito like the air!
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In his two presentations (in physical form, with seven pieces, and in digital form, with ten), Fear Inoculum is a perfect conceptual rock work. It is the concept. Because it is not an opera or a musical comedy. Nor is it the musical background for something else. It is a construction of sublime accuracy. A holistic modular system sustained in seven parts. As an atheist cathedral made to dialogue with Heidegger and Wittgenstein the same as with Dylan and Lennon. A great web of rock and philosophy. That is why it does not fit in a book of ancient ink and paper.
The architecture of music and the geometry of madness, as a critique of everyday violence and as an invitation to mature in the critical self-consciousness of freedom in action, Theory of Autonomy; not stop maturing, because it also matures in the emancipatory rebellion of being against normal nihilistic emptiness. Knowing how to become freedom put into action, day by day, step by step, beat by beat; because we must unite the eternal unmentionable with the equal moment of unmentionable, knowing pendular between finite and infinite, united in the plot of a set of poetic-musical images, such as the seven pieces of Fear Inoculum. Plus the other contribution of the audiovisual substance that adds the material packaging of the luxury edition of this recording of Tool, a very avant-garde film band. So everything in this object of virtual presence comes to think thinking with music and visual images, to change the concept of social being in a @ same, both individually and collectively, and all according to the influx of critical novelty of the subversive rock socioculture and its “be yourself”. An underground question of few people, because it undoes what huero of the show of corporate and t rade marks .
The title of this work, Fear Inoculum , contains an endless number of immediate connotations and thus expresses a multimodal, analytical concept. Not one, but many truths; The facts it communicates.
According to the style of the previous recordings of the grouping, there are many effects of clash between apparently opposite terms. There is talk of fear that “knows” (us) inoculates, fear that is always here, and also speaks of what inoculates us against fear, which gives us courage. And in another semantic field of crossings of meaning between Latin and the English language, fear is spoken of as an evil eye, the fear that is in the eyes, the fear that enters and leaves the eyes. An inevitable fear, discomfort in the culture; recognize it and reason it, recognize it and master it. See the adverse reality, where we will always die. The fear of fears that we must experience in a self-conscious way in order to survive and mature as people; because there is talk of feeling and naming the fears that are there, against our will.
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Yes, by way of the same metal friendship that I mentioned above, I had already heard, for a long time, about the presence of Tool as a group with its own personality, with an underground and countercultural identity. I listened to his first recordings, which didn’t seem bad to me; but they also left me with a who knows what I don’t understand, because there was no click , it was probably due to my natural Taliban resistance to the current post-rock. As his lyrics and music didn’t tell me much, I felt them as distant and very angry things, almost like teenage tantrums and no more. Now my judgment has completely changed: upon returning to listen to those recordings again, this time I found the path that leads in a clear and direct way to this exceptional work:Fear Inoculum .
The total sum of Tool’s work is a forest in the forest, a cluster of trees with large and tall trunks with long branches. An ultrabaroque twist of music and deep thinking.
Tool is a band formed during the last decade of the 20th century, its leader is Maynard James Keenan. For this his fifth album, they integrate Danny Carey (drums, percussion and synthesizer), Justin Chancellor (bass), Adam James (guitar) and Keenan (vocals), with the addition of Lustmord, which produces the sound effects of waves and Water. The producer was “Evil” Joe Barresi, directed by Keenan and supported both by a large team of engineers and specialized recording technicians for each of the musical instruments.
During their thirty-year career as a rock group, they have been classified in many ways, not a few of them contradictory to each other; but the constant is to adject his music as “cerebral.” There are those who define them as progressive rock, others as psychedelic rock, some more as metaphysical punk and there is no lack of those who see them as art rock or cinematographic rock; but they are also classified as progressive metal transgressors, alternative metal pillars and ultra-philosophical post-rockers. The truth is that they are fortunately unclassifiable.
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The invisible concept ordered by Fear InoculumIt is number seven (7). A question interpreted in multiple ways by the band, forms ranging from abstract geometry to the mystical cabal, as well as from astronomy to elementary molecules; always within a deep avant-garde poetic drift, both in music and in lyrics. The musical times of the basic pieces that make up the construction are combined with the number seven and the total of the base songs of the project is seven as well; the same applies to the lyrics and their structure as verses, also for the plans of the final assembly of the recording. Within the plot of the songs we find the narration of a life in seven decisive moments, a life at the same time individual and collective, singular and plural, vibrant. Moments ordered according to free association and not in a novelesque linear way. It seems that everything is remembered at the time of the death of the existential subject, they are decisive memories, the sign that everything in that life has made sense, that it is worth living in an intense and reasonable way, and then lead to the definitive nothingness of death. And it is over. That’s what it is all about, a lifetime and its meaning as an experience of maturity.
The product is a wide assembly of recordings, a tape filling; Alchemy of the studio and the recording console, magic of the mix. Because this of the production of his albums is one of the most serious works of Tool as a team, it is not something that is left in the hands of a technician outside the music performance.
Fear Inoculumit is a work of fantastic realism; but it is not surreal or Dadaist, because, already in such a case, it is mostly melancholic gothic pop. A metallic neopsychedelic rock of California. As a novel by Thomas Pynchon, for example. A work where it is said that everything to mature autonomously is a matter of inoculating against fear and knowing how to create meaningful things and actions for the universal being, by the will to power. It corresponds to a fantasy that can only be called “hollywoodesca” and, already walking in those, it is better to say and think that it is: “jolygwdezca”, because the real project distorts the model, it really makes it human and rare, very rare, that’s why Black cinema with critical intentions, such as Robert Bresson’s movie. The guilt of the original sin of violence and redemption through self-critical reason and the feeling of Gothic melancholy. Sentimental poetry It is the American cinema seen and made from a deep knowledge of European cinema seen from the point of view of globalized cinema. Where there are no borders and ego. Because the core and polyvocal account ofFear Inoculum is not cinema for the box office and the tragapalomitera mass, but American experimental cinema, cinema for the intellect that imagines the free, all mental and imaginary cinema that, nevertheless, happens real in the most real; a conflicting documentary with meta-allegorical ultra-fiction support, what is lived to not be fear, a film in which you want to make the invisible visible, the silence of light and colors. The rainbow of the interior experience in an acidic tone of existentialist horror cinema.
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The first piece of the concept has an eponymous title of the album, “Fear Inoculum.” It corresponds to the moment of chaos, the point that joins the hour of death with that of birth, light and darkness, everything and nothing; the point where the cycle closes and the final meaning is given in nothingness, the original and definitive nothingness. It is born between fears, like an exhalation of fear itself, and death must be achieved by being immune to fear, such is the ultimate peace, the exhalation of life, the culmination. Astonishes the accuracy in the instrumental performance of this piece and in the assembly of the recordings that integrate it; something that is achieved equally excellent in the other parts of the concept. Hypnotizing music to spin as a dervish, until it touches the blue of the sky. The journey begins
“Pneuma”, the second piece of the set, corresponds to paradise. Before the original sin I separate the tree of life from the tree of knowledge. It is the “air” we breathe, to exist, to think, to dream, to feel fear. “We are spirit linked to this flesh …” A creature awakens, realizes to be the light, the embodied light and the illuminated flesh, as a result of fear and the impulse to counteract it. Be an ephemeral moment of light in the eternal of the universal night. Breathe, continue breathing, obeying the order to breathe, soul in the body.
Next step, the person is configured, the identity is disfigured, for a moment he feels “Invincible”. The image of the flood and its contradictions illuminates several moments of his life: in old age he thinks of his youth, while as a young man he thinks of his old age; in old age he feels invincible because he did not die young and in youth he feels invincible because he thinks he will not grow old. Warrior spirit in time, his eyes fill with tears when he admits to having been deceived with false hopes, by following the ghosts of Ponce de León and believing without reason in the fantasy of the fountain of eternal youth. When the key to the game is a matter of following the truth of time, knowing how to grow old and arriving in peace at death, a process that begins knowing how to be young in youth. Win the peace of death. Such is the true destiny of the warrior soul. (And, yes, that’s right, Keenan’s lyrics are very ambiguous in matters of gender and sex).
The fourth step of the altarpiece, “Descending”, raises an anti-climax, when the person collides with the hard and fixed of the present. It is a Dantesque painting in a situation of abstract expressionism, a free fall through our nihilistic midnight, when the darkness is absolute and it seems that the day will never return. The epilogue of our fable. A plural situation, ours, common, because it communicates to us to communicate, to recognize the weight of the present and to know that everything alive has to die and that everything that thinks about it is sad forever, that such is the divine human condition. Stop being, go down to the ground of the real, walk where everything goes, without offering absurd resistance, to accept the truth that endures. Get out of absolute calm, the call to arms and order, to sacralize the nothingness we come from and where we are going, warrior dancers, calling the full moon. Here it is good to attend to the work of the guitar, because it shows why Tool is a rock band … and that’s it.
From there must come the conscience of the conflagration, “Culling Voices” (“Voices of sacrifice”). The hermetic and dark, the black metal of the cavernous gothic, the fifth element of the altarpiece of the seven elements, when the manufacture of the philosopher’s stone as a light of consciousness intensifies the plural character of the self and of being, the mental thing itself . Ours, because we are mortal and afraid, the will to survive is psychopathy, imaginary interaction, through ideas, with high degrees of misunderstanding. An unease in culture and the enjoyment of communication, the anti-social desire and the realization of utopia, the cursed part of eroticism, having to learn to be by our own meaning and always with a sense of society. Because reality we mean all at once, although we are still confused with the illusion of the binary and the false permanent duality. We are violent because we are the sacrificial society, that of the myth of Cain and the murder of the brother, still. We make everything about the bloodshed of the victims, the excess in destruction by will, the cruelty of the theater of freedom. Then we must see that the “I” deceives me all the time, I need “we” to be where time and space come together, where disembodied voices deepen my suspicious tendencies of wanting to survive, so I have to doubt myself, I have to try to establish the conversations that we have not had, in order to suspend the sacrifice, to change life. Having what we lack of control of fear to survive in a more just and wise way. Escape from the cage of fantastic fear. Listen to the voices of time, the infinite blue of silence. To truly live the millennium of the great liberation, the inner experience of the open community of noble souls, the voices of time, our spirit. My “I” deceives me by making me want to banish everyone else, the sense of being is to be with everyone, without selfishness.
New detour, another anticlimax, the sixth step of the play, “Chocolate Chip Trip”. An instrumental piece. It shows the sublime of the mounting of recordings and the ability of the group to play the music. It gives a bittersweet tone to the story told, because at the same time it represents the poison of fear and the vaccine that avoids it. If the other pieces last more than ten minutes, it lasts less than five. It truly integrates the musical synthesis of the whole and then the electronic sonority of virtual music predominates in a sublime way, which is how this concept will generally be heard, and fortunate will be the noble souls who hear them interpret it in full.
And the consummation of the work is “7empest”. Yes, that’s how it is written, with the “7” instead of the “T”. The storm of the number seven that is presented as an allegory of the contradictions of human reality, the social reality of the individual self as a cluster of identities. Interpreting what the lyrics of this song say requires a lot of space and time. We are at the climax of the album as The Concept of Rock. When all the knots are tied and the net is finished and the image that gives us is the face of fear that is our own face. So that everything begins again and everything, being the same, reaches a different end each time and in each one.
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The Concept, I said, is so broad that you don’t get caught up in explanations and definitions. You can only be pointed away by this means. Its importance is enormous. This is how I want to continue interpreting everything I find in Fear Inoculum . I would like to describe with technical details the qualities of the musical arrangements of each piece and the complexity of the performances, plus the quality of the lyrics. All production work that turns it into electronic music. But that would mean writing thousands more characters, when this note only wishes to be a brief way to correct my mistake by falling into the trap of believing that all past time was better, when it is clear that the best must always come from the future. And that’s why I invite you to listen and see on your ownFear Inoculum de Tool. This correction of my critical course on the occurrence and being of rock remains here.