toe are Tokyo post-Rock juggernauts. A big engine which can speed like a bullet train, decorated by chiming tubular bell guitars.
The two guitarists, Yahazaki Hirokazu and Mino Takaki got together at the turn of the century, to explore broadening their Indie Rock and emo backgrounds.
It is drummer Kashikura Takashi who brings the undeniable chaotic excitement element of Math Rock. Precision beats with explosive jumps to rapid fills and changing time signatures.
You can get a sense of the style from the classic Motown period, and the work of drummer Benny Papa Zita Benjamin. His were brief grenade bursts, and along with the personified bass of James Jamerson, they built the framework for the sound of Young America.
A surprising amount of muscle from the bass of Yamane Satoshi. (Dee Dee Ramone) Douglas Colvin with heavy precision.
A quarter of a century and they find themselves for the first time in New Zealand. An almost full Galatos, a heavy Asian presence along with a familiar Metal crowd.
As the lights dim, the sound of a xylophone precedes someone singing all alone I was crying.
The band jumps in with acoustic guitars, until the bass wall and rapidly morphing drums reach escape velocity and go into orbit. Loneliness Will Shine from most recent album Now I See the Light.
Long Tomorrow from the album of the same name. Melodic guitars with simple Pop hooks and sparkles, until the engine kicks in and cooks, the drummer taking a solo.
Their album titles read like Murakami novels. Number two is the book about my idle plot on a vague anxiety. There may be one from there, close to half the songs tonight are titled in Japanese script.
Two Moons has acoustic Spanish flamenco guitars reminiscent of Led Zeppelin III, the folky pastoral side.
We hear Eastern chimes and drone vocals over the course of the show.
Each song is preceded by a machine drone. Guitars can jingle-jangle on a merry-go-round. Other times they play familiar classic Rock signatures
Because I Hear You packs in Folk Rock guitars, pivots at the bridge, the drummer takes a startling solo, then everyone piles back in.
After Image has a high female voice on loop, to precede a great rhythmic workout where the drums take out the trash with an awesome battering.
Swallow The Rat is a Post Punk Auckland band, and if that means circling back to older Sixties roots, that’s fine.
Post Husker Du might be a better descriptor. Heavy Surf licks, drone vocals, the Stooges Scott Asheton guitar style frankensteined in there.
Singer can sound monochromatic bleak Curtis Joy Division.
This is relaxing and tension-releasing music in similar fashion to Wax Chattels. The drummer maintains the metronome and the guitar discharges the pent-up energy.
The train reaches the station and it all has to stop. The Galatos crowd is well-primed
toe are heading toward Power Pop as they get to the closer.
F.A.R starts with a piano, and they sound Western with a sophisticated Pop ballad. Everyone sings and the cymbals sprinkle sparklers. They sound like Crowded House.
Then it detonates and the maelstrom descends to kick out the jams.
The encores are not on the setlist, but they treat the audience to one more Folk jangle, and a final heavy Rock blast.
Japanese are obsessive about American-inspired music in all forms. They are mad for Jazz. It’s a surprise that the only popular music acts I’ve seen here are Shonen Knife and the 5,6,7,8’s.
This band is a welcome addition and toe promise to be back.
Rev. Orange Peel
Photos by Marc Peretic
Swallow The Rat
