So this band is named TOAD, eh? That’s right, TOAD.
Technically their name is an acronym for “Take Over And Destroy,” but these Phoenixites could easily have gone the command-as-band-name route and stuck with that. They also could have chosen a phrase that didn’t result in an amphibious moniker. No, it’s pretty clear these guys wanted to be called TOAD and just needed a reason to capitalize the name. TOAD.
That’s asking for quite the (ahem) leap of faith from their potential listening audience, wouldn’t you say?
Well no reason to jump to any conclusions about ironic names (or bad jokes), as a quick spin of debut full length Endless Night reveals a band with a strong understanding who they are and what they can bring to the table, which is largely a kind of mid-tempo, often cutthroat black’n’roll overflowing with brashness. At times TOAD even comes across like a kind of twangless, sludgy Glorior Belli, particularly when vocalist Andy Labarbera spews forth with murderous intent, which he wisely does from the album’s first moment.
(Strangely enough, he doesn’t exactly croak in the manner you might expect. He does, however, sound quite hopping mad.)
But this TOAD chooses to leap further (yup). The band tosses a splash of slower thrash here (“Boundaries of Flesh”), some NWOBHMish riffage and melodeath harmonies there (the title track), and even some 70s styled organ. It all probably comes together best on the multifaceted “Howling House,” which features a gang shouty, sink-your-teeth-in verse catchy enough to solidify the vibe of the entire album in the process. The result is an album that quite honestly sounds like it’s looking for a goddamn fight. Endless Night is heavy without relying on weight, fucking irate without giving off the slightest hint of angst, and often extremely rockin’ without giving up an ounce of those two previous qualities.
All of this said, the album is a tease, and in more ways than the brief 28 minute runtime. TOAD actually seems to be holding back at times, specifically in the instrumental department. Some actual guitar solos or a more prominent organ would go a long way towards taking some of these songs from great to face-searing, not to mention officially unhinge the band’s swagger. And that’s just it, with how much I enjoy the band’s core sound (and it’s quite a bit), I really wanted Endless Night to completely knock my socks off. It stopped short at showing me a rollicking good time instead.
But a rollicking good time it is, and any shortcomings of Endless Night should not be viewed as warts on its surface. After all, it isn’t as much about what the album isn’t as much as what it could be, but even this kind of talk undermines how much of a violent blast this album offers listeners. Here’s to high hopes that this isn’t the last we’ve heard from TOAD, as they seem like a band with a whole shitload to offer, and are only beginning to really get their strong legs under them.
Okay, enough with the horrid humor. Get your ears on this shit. Catch y’all later.
(Now for the real debate. Why did the guy named “Toad” have the shortest jump in Super Mario Bros. 2? Always a mystery.)
