Toe - For Long Tomorrow (Album Review)

 

Toe - For Long Tomorrow

(2009)


My copy: 2022 reissue on green in brown vinyl by Topshelf Records.


Japanese math-rock band Toe reached the pinnacle of their western popularity in 2009’s For Long Tomorrow, which stands as a tasteful fusion of technical rock structures and jazzy arrangements. The ferocity of the drums is often undercut by an unwillingness for the guitar to branch out into denser sounds, but their commitment to dignified layering of clean melodies is impressive when executed well. 

The album begins inquisitively with a drone and prickles of synth, leading into the rolling hammer-on riffs of “ショウシツ点よ笛.” The bass often propels the guitars forward with precision bumps, set into the pocket of the tastefully energetic drum patterns. The production is rich and clean, mixing in subtle whistles and claps to keep the temperament playful. The female vocal loop that ties “After Image” together brings the perfect amount of sweetness to balance out their intricate, jazz-tinged compositions that narrowly skirt around dissonance. “エソテリック” is the only song in which the guitars match the intensity of the drums with punkish chugging and faster tempos, leading to a deeper craving for aggression that is never indulged again. 

The relaxed, airy RnB flavors of “Say It Ain’t So” provide a necessary break in the layering, though the actual sound is somewhat bland, with performances that lack a necessary energy. “Two Moons” seems to borrow heavily from midwestern emo/math-rock riffing, ending up as a relatively lifeless and imaginative noodle-fest. Duo tracks “モスキートンはもう聞こえない#1,” and “モスキートンはもう聞こえない#2” reinstill confidence in their creativity with nostalgic piano and a hypnotic, polyrhythmic focus on repetition. The dramatic instrumental choruses of “ラストナイト (Album Version)” prove the necessity of dynamics in technical styles of rock, as these moments of release compliment the multi-faceted layering of the verses nicely. 

Toki Asako provides guest vocals on “グッドバイ (Album Version),” which stands as the longest track, notable for its distinctly Japanese take on Stereolab (that is, the melodies are far more complex at the cost of some finesse). “You Go” and “Long Tomorrow” rehash core elements of other songs, and feel like inoffensive padding though “Our Next Movement” starts as a surprisingly fun arrangement of various percussive elements before patiently working towards a tenacious climax of woodwind instruments. 

For Long Tomorrow almost manages to totally offset its tonal stagnation with expressive writing and appealing layering, but it still feels like there is a certain energy missing deeper into the album. Yet, this complicated take on math-rock/emotional jazz so perfectly oozes a particular charm that it’s hard not to smile while listening to a handful of these clever songs.

Comments

Post a Comment

Popular posts from this blog

What Makes an Album Great

Image
            Great albums should leave lasting impressions, not only on those who listen as non-musicians, but also on the realm of music these albums occupy. In other words, a musical project should seek to leave some distinct mark on it's genre, to lay claim to some form of unique personality; this can often come in many forms, ranging from broad sound choices to subtle production techniques. This method for evaluating music seeks to make complacency the enemy, and forward movement the desired goal. This is not to say that all derivative albums are necessarily bad, as of course, outliers will always exist. Rather, the goal of an artist should, intrinsically, be to leave some reflection of their own condition, regardless of how relatable those emotions may or may not be. In music, this can be achieved in multiple ways, however I will focus on three aspects that I find particularly important when listening to music.      When co...
Read more

Oneohtrix Point Never - Again (Album Review)

Image
  Oneohtrix Point Never - Again (2023) My copy: 2023 limited press on orange transparent vinyl by Warp Records. Having built a strong reputation across a multitude of electronic projects, Daniel Lopatin now cashes in on his modern influence to compile what is likely his most ambitious project yet. Spanning over an hour, Again picks up where 2017’s Garden Of Delete left off, for better and for worse. Even with lush string arrangements and big-name features, Lopatin is unable to prevent Again from falling victim to some serious bloat. Anxiety immediately unravels in the orchestral “Elseware” though this introductory track quickly straightens out into a beguiling arrangement that is unlike any “typical” Oneohtrix track. The ritual “Again” then dives headfirst into Lopatin’s usual world of chittering robots and droning vocal mimicry. Things begin more explorative - descending into the depths of some synthesized hell before fading and restarting. Acoustic flourishes fester alongside...
Read more

Part Chimp - I Am Come (Album Review)

Image
  Part Chimp - I Am Come (2005) My copy: 2005 press by Rock Action Records As the millennium turned, rock music trends began to shift. In the U.S. a band called Lightning Bolt were establishing themselves as forerunners of modern noise-rock by pushing the music in increasingly weird directions. Across the pond, Mclusky were fighting the good fight with the 2002 Albini-produced Do Dallas, that wove dry, intelligent humor in between bursts of electrifying instrumental poundings. But over in London, another set of noise-crazed rockers got their start around the same time.  Part Chimp’s humor is a touch more on the nose; see album title Chart Pimp, or song title “Hitler and Jews” from the same 2002 debut. But directness is just where a band calling themselves “Part Chimp” excels. As rock began softening and going the way of the Strokes real quick, Chart Pimp offered a bastion of sludge-y rock ferocity that mostly suffered from being less able to fully capture the sheer volume ...
Read more