THE BOOK ABOUT MY IDLE PLOT ON A VAGUE ANXIETY

When I think of math rock, I think of high energy and extremely complex passages of music, often with large amounts of abrasive qualities and distortion, along with a certain hyperactivity. This makes Toe a very interesting case, fusing the complexity of math rock with teh atmospheric qualities of post rock, leading to rapidly changing time signatures being made into some incredibly relaxing music. While each song has a very similar feel to it, it ends up working quite well here, sounding more like an extended passage taking on various rhythmic patterns than a collection of songs.

From the short opening track, you're immediately made fully aware that there will be a lot of focus on rhythm, strting off with crackling, seemingly off beat notes before introducing other elements until it becomes an edm style beat. After this, the rest of the album follows a similar kind of sound, one involving each note feeling perfectly calculated, especially the drumming, which is genuinely some of the greatest I've heard, being incredibly fast and technical, keeping a good amount of variation, but also showing the perfect amount of restraint. The album is in a constant state of being perfectly on the line just before devolving into excess, but never hits that point, instead maintaining a high level of excellence througout, with each song being led primarily by this simply incredible rhythm section. It amazes me how such incredible technicality can manage to morph into music that I could see myself comfortably dozing off to. All I Understand is that I Don't Understand is one of the best tracks here, with soft riffs playing off each other meticulously, sounding like a complex indie rock track more than anything else, but being so lovely in the process. C is probably the most energetic tracl here on the other hand, with a really cool, strange drum beat, and some of the most focus on the guitar elements, along with a really groovy, prominent bassline. I really don't feel like I can say much more about this album without beginning to repeat myself, each song shares very similar features with one another, but are all played exceptionally well, even if it does lead to some issue with memorability and a slightly repetitive feeling by the end, not that it is enough to majorly detract from this album.

I find the middle ground taken here between the expansive, softer aspects of post rock and the excessive, wildly technical nature of math rock to work exquisitely, as it balances these in such a wy where neither overpowers the other, all topped off by some out of this world drumming. The one issue I do have is how the album is definitely somewhat one note, but despite that it's still highly enjoyable, as well as quite easy to listen to. I'd recommend this album to a fairly wide range of people, namely those who like chill music, as I think you'd have at least a passing interest in this album.

Best songs: All I Understand Is That I Don't Understand, C, Everything Means Nothing

Weakest songs: none

Verdict: Surprisingly soft, melodic math rock that I'd honestly recommend for anyone who likes relaxing music to listen to, as it provides an element of beauty, while also being an incredible display of technicality.

The relationship between math rock and post-rock is a nebulous one yet both were spawned from the same indie rock inspired ethos that launched a new breed of alternative compositional structures that was forged from prog rock legends such as King Crimson, the world of jazz as well as the more ambitious punk rock acts of the 80s such as NoMeansNo with jittery time signature changes. While math rock is characterized by complex, atypical rhythmic structures, odd time signature outbursts and oft bizarre chord progressions, post-rock on the other hand focused more on generating cyclical structures that explored complex textures, atmospheres and climactic buildups.

As the two styles diverged and became distinct entities in the greater world of experimental rock, some bands such as the Tokyo based TOE found a way to marry the two distinct styles into a cohesive whole and as a result has become a legendary force that showcases the blistering technicalities of bands like Shellac, Don Caballero and Hella only with the pacifying grace of post-rock continuity as heard from bands like Godspeed You! Black Emperor, Sigur Ros, Bark Psychosis and Tortoise. Formed in the year 2000 by Kashikura Takashi (drums), Mino Takaaki (guitar), Yamane Satoshi (bass guitar) and Yamazaki Hirokazu (guitar), TOE has risen to the top ranks as the perfect hybridizing act of where math rock makes a truce with its more ambient cousin post-rock.

The band released its groundbreaking debut EP titled "Songs, Ideas We Forgot" in 2002 but was still primarily delving into the math rock side of the equation however by the time the band debuted with its full-length release THE BOOK ABOUT MY IDLE PLOT ON A VAGUE ANXIETY, the marriage of the two styles had pretty much evolved into a seamless continuity unlike virtually any other act that resides on either side of the fence. Led by the pronounced drumming techniques of Kashikura Takashi, TOE is characterized by a focus on compositional simplicity fortified with complex rhythms driven by Takashi's extraordinary percussive idiosyncrasies that are taken to a higher level via the clean toned melodic twin guitar workouts and bass grooves that accompany.

Virtually a stripped down all-instrumental affair with only the tiniest traces of a human voice or electronic embellishments, TOE's debut is a testament to keeping things streamlined into a minimalistic approach which allows the percussive rhythms along with the pacifying tones and timbres to do all the talking. While fortified with rhythmic technical outbursts courtesy of Takashi's virtuosic drumming style, the band maintains a even keel melodic approach in how it constructs chord progressions, guitar arpeggios and an almost poetic sense of continuity. The simplicity may be a turn off to many but by eschewing long sprawling composiitons that build to thundering crescendoes, the band can focus on more direct pathways of free-form math rock excursions and less on the sprawling cyclical aspects of the world of post-rock.

THE BOOK ABOUT MY IDLE PLOT ON A VAGUE ANXIETY delivers a set of 11 tracks, with only one extending past the five minute mark and a total playing time of just over 38 minutes. The tracks are concise, to the point and offer all the strengths of the world of math rock without the bombast or overpowering emphasis on brutality for its own sake. Comparable to the simpler post-rock bands such as Dirty Three for example, TOE offers a more complex set of tracks that are tantamount to a very controlled form of chaos with the tracks flirting with pop hooks but keeping just enough distance to maintain the detached alternative feel that math rock exudes. It's a very strange balance act going on here indeed but for anyone remotely into math rock, this one is certainly one of the glaring examples of how to craft the perfect balance between the jittery nature of math rock and the best calming aspects of the world of post-rock.