TOAD, Endless Night: Giving a Taste of the Grave

Posted in Reviews on January 31st, 2013 by H.P. Taskmaster

As much as extreme rock has ever been a thing, Tempe, Arizona, six-piece TOAD would seem to be engaged in the practice of it. The double-guitar, organ, bass, drums and standalone vocal outfit made their first showing in 2010 as a split with Drone Throne, then on their own in 2011 with Rotten Tide (review here) and are set to return in 2013 with Endless Night – five tracks of blackened melodic death rock that attempt to draw a line between At the Gates and the riffier terrain of heavy rock. No easy task. The five tracks of the vinyl-ready 27-minute Endless Night cast off a lot of the melodeath cliché that came in the wake of America’s turn-of-the-century metal revival – i.e. they don’t rush through a verse so as to blindside you with an out-of-place breakdown most part – but there is an intensity to some of their parts that feels derived from modern hardcore, so that even the dueling guitars on the otherwise organ-driven closing title-track seem to be in specifically that kind of rush. The band – comprised of guitarists Nate and Alex, bassist Trey, vocalist Andy, drummer Jason and organist Pete – balances its approach well, so that they never appear to be in the same place twice while also creating a full-album flow over the course of a brief span. Endless Night preserves continuity though in the echoing screams of Andy (who seems to be going by Chthon these days, unless I’ve got the lineup info wrong), which are largely unipolar in their shouting approach, at times scathing, but presented well in the mix all the same. Together with Jason’s drums, they announce the rolling groove of opener “Taste of the Grave,” which is also the shortest track on Endless Night at just under four minutes, centered around a heavy rock riff that in another context might bounce where here it pummels. TOAD, whose name is an acronym for Take Over and Destroy, have several immediate factors working toward their favor, and a pervasive knack for structure is one of them. It’s easy to get lost in Endless Night and some might accuse their songs of being samey, but TOAD are able to accomplish changes between otherwise standard verses and choruses that even with considered listening are less predictable than one might think. The harder you hear Endless Night, the heavier it gets.

And repeat listens may pull back the curtain on a horror influence that shows through in Pete’s organ work on “Howling House” and elsewhere, but even so, TOAD don’t necessarily telegraph where they’re headed next, as Entombed-style guitars in the verse of “Taste of the Grave” give way to a nuanced bridge. In some ways, this sets the tone for the whole of the album, which is similarly minded in its bludgeoning, but there’s no chorus to speak of in “Taste of the Grave,” and gang vocals, layers of backing singing and lead guitar throw one off as much as they bring you along with them. That makes Endless Night an immediately fascinating listen, and there’s still a core element of songwriting that brings back the verse riff to end the track, giving way to the creepy guitar opening of the 6:26 “Cosmophobia,” the longest cut of the five but right in line with the closing duo “Boundaries of the Flesh” and “Endless Night.” The intro gradually builds as drums are added before taking off to a thickened stomp at 1:18 that sets up the jagged verse and the more obvious chorus. It’s still largely the guitars responsible for the hook, but the vocals do well in following where the music leads in terms of rhythm, and though stops before the three-minute mark are jarring until the organ begins to fill that space (I kept wondering if one of my channels had dropped out), TOAD once more show an ability to wander from and return to the core figure of the song, reigniting the interchange between the verse and chorus and then cycling through once again with more bombast as an outro, Jason’s blown out cymbals setting up the drum-led thud of the intro to “Howling House,” soon joined by the guitar and an opening “argh!” from Andy that’s straight out of black metal. The Sunlight Studios-esque crunch of “Taste of the Grave” returns on “Howling House” and proves adaptable to the tempo shift into the slower, more open, noisier second half of the track, which picks up following a dual solo into blastbeats and stops to round out once more with a last verse and cold end. If it’s a sample of a tape winding up or the actual tape onto which Endless Night was recorded, I don’t know (TOAD had made a point of analog recording for Rotten Tide), but “Boundaries of Flesh” launches soon after into a frill-less brutality that’s perhaps the most abrasive they’ve been yet.

Read more »

Tags: , , , , ,

On the Radar: TOAD

Posted in On the Radar on January 24th, 2012 by H.P. Taskmaster

Not to be confused with the Swiss heavy prog trio from the early ’70s, the Tempe, Arizona-based six-piece TOAD‘s moniker is meant as an acronym for Take Over and Destroy, and seems as well to be a statement of their methodology. Their debut EP, titled Rotten Tide, blends a variety of styles from bombastic hardcore metal to post-Mastodonic technicality, and — perhaps most curiously of all — a preference for analog recording that’s almost entirely absent from the larger scope of modern metal.

Rotten Tide sounds modern, and though parts of centerpiece “Embody the Ghost” speaks to some affection for retro doom in its horror spookiness, the song itself quickly moves away from that and TOAD are, on the whole, working within a different aesthetic. Vocals from Andy Leemont come in abrasive and layered shouts over the guitars of Nate Garrett (who seems to have replaced Dan Labarbiera) and Alex Bank Rollins, and are clearly metallic in their origin, and yet Pete Porter‘s mellotron seems to add a backwards-looking flair that’s not incongruous with what the band are doing only because they mix it so well into their own context.

And as for recording analog — aside from the snobby prestige of being able to say you did it, it doesn’t really do much for your sound if you’re making something as metal as Rotten Tide — but as it’s genuinely a more arduous process, it says something that TOAD did it anyway and, along with their use of “all vintage gear from the ’60s and ’70s,” it seems to speak to the same kind of genre-straying ideology that drives “Embody the Ghost.” They’re still very metal, and at times border on black ‘n’ roll, but the band — who are just starting out and whose lineup is rounded out by bassist Trey Edwin and drummer Shane Taylor — have potential to develop in any number of sonic directions.

If you’d like to find out for yourself, they’ve put all of Rotten Tide up for streaming on their Bandcamp page, and also have a split release available through Boue Records with Drone Throne, with whom they share Rollins and Leemont. They’re also on Thee Facebooks, if that’s your thing. Here’s the whole of Rotten Tide, courtesy of the former:

Tags: , , ,