TOE.

The first song is a brief 39-second sonic introduction that bleeds directly into the brief "Shou[&*!#]su tenyo fue" (2:40) (9/10) which is, in effect, an introduction and set-up for the album's third song (and, IMO, crown jewel). Arpeggio

3. "After Image" (3:59) featuring female vocalist Harada Ikuko reminds me of an awesome upbeat song from IVY or FIONA APPLE. (10/10)

4. "Esoteric" (4:15) is the album's first song to fully fall under the familiar/more usual Post Rock/Math Rock formats--and it is an excellent one! Sitar, arpeggiated acoustic and electric guitars, and amazing drumming! This is like MASERATI at its best! (10/10)

5. "Say It Ain't So," with the vocals of Dry River String's Hoshikawa Yuzuru (3:42), sounds like it wants to be pop and maybe even rappy. It's laid back, very repetitive and uses multiple tracks for its vocals. (7/10)

6. "Two Moons" begins rather delicately, involving a synth, glockenspiel an acoustic and an electric guitar interweaving polyrhythmic melody lines. Until the bass and drums arrive at the 1:49 mark. Then we have a full-out jam! Kind of reminds me of ALGERNON. (8/10)

7. "Mosikiiton wa mou kikoenai #1" (2:32) (8/10) is a piano over tuned and electronic percussion intro/variation for the next song,

8. "Mosikiiton wa mou kikoenai #2" (2:20) in which drums, bass and acoustic guitars play a more prominent role. Together the two variations rate a pleasant KOOP-like (8/10)--lacking enough development and change to make me reach for the replay button. This one is the drummer's song!

9. "Last Night (Album Version)" (4:56). By this time into the album I am looking for a little more variety. The one-note-at-a-time Kool-and-the-Gang synth is starting to get on my nerves, the interwoven tuned-percussion and acoustic guitar leads are getting a little old, the bass and drumming are the only things still keeping it interesting. (7/10)

10. "Goodbye (Album Version) featuring Toki Asako" (7:06) establishes another IVY-like groove using acoustic guitars and rolling COCTEAU TWINS-like bass before the vocalist and drummer get engaged. Again, the drummer is stealing the show! At the four minute mark ends a peak and things settling into a bit of a mellow, more simply and controlled section-- though the drummer apparently has difficulty with this mode, as he seems to always sneak in, or bulldoze his way into . . . taking over! I think the rest of the band shows admirable restraint in the face of his "lead" though I also believe the drumming is what makes this music work on such a high level. (9/10)

11. "You Go" (3:35) begins like one of DAVID BYRNE's Brazilian-influenced or PAUL SIMON's South African-inflluenced songs of years ago. The drummer is held a bit farther back in the mix on this one?and shows more than his usual restraint, though even in quiet restrained mode he continues to shine and attract the attention of the listener. (8/10)

12. "Our Next Movement" (4:48) begins with a very blatant folk drum style--large African hand drums and other hand percussives. Saxes play around in the background--as if I'm reminded of JONI MITCHELL's "Dreamland" from Don Juan's Reckless Daughter. The random sax play, bass play, and replacement of hand drums by drum kit reign this jazzier tune in a bit. Horns come together in a bank format as guitars pick in their arpeggiated KING CRIMSON way. I like the looseness of this one. (8/10)

13. "Long Tomorrow" (5:18) displays the same controlled "Discipline"-like weave of electric guitars, drums, and bass as the album began with. I like the bass being a bit more forward in this one. Static-screeching synth enters around mid-point. Finishes in a much more PostRock/Math Rock way. I can't explain why I like this time of "controlled chaos" so much-- that KC "Discipline" weave--but I do. (9/10)

Though this album often threatens to slide into background music, it is definitely one of the best Math/Post Rock albums I've ever heard?one that I will play again and again. I look forward to the growth and maturation of this great little combo.

4 stars: An excellent addition to any prog lover's music collection.

The Future Is Now dabbles in much of the same territory as its predecessor but the formula has clearly not grown stale and Toe. should use it as long as it keeps working. Their sound is a nice blend of both post-rock and math-rock and the music this group creates is phenomenal. Japan's groups in the genre are always great with composition of music pieces, and this album is no exception, it is quite stellar in terms of musicianship and the music writing quality.

It's a short little listen that always seems to fly by because it's such a fun little EP to listen to. Even people who aren't fan of the post-rock/math-rock scene can learn to appreciate this. It's an album you can tell the group enjoyed making (Toe. always gives off this vibe) and it won't take up very much of your time at all.

I would go as far as to say it's an excellent addition to any prog rock music collection.

Toe is one of the rare bands that can combine elements of math rock with post rock without feeling forced, and New Sentimentality is a great way to see all of these facets utilized to their fullest. Dreamy and spacious guitars mix with tight, rapid, complex drumming and are tied together with atmospheric, emotional vocals to create an experience that is all at once thoughtful and exciting. "Goodbye" is the best example of this, which starts off with a humming, impassioned guitar line not unlike something you might hear from an early Modest Mouse album, but is soon driven forward by what is simultaneously one of the catchiest and most intricate drumlines I've ever heard.

Toe's ponderousness can wear a bit thin on a full-length album, but as a 20 minute E.P. their music is just what the doctor ordered. If you're a fan of post rock or math rock, there's no reason for you not to give this little gem a listen.

If you enjoy post rock and not-so-frantic math rock, you will most likely enjoy this quite a bit like i did. This is one of this year's best releases. Don't you dare miss it. 4 1/2 stars.

The music in New Sentimentality may not sound loud enough to make an impression or to stun the listener on the get go, but you'll slowly subdue to the music either by the warm acoustic guitars and fender rhodes (two instruments rarely seen in this kind of music) or the brisk drumming that, while being fairly complex, is still soft to the ears. Their start-stop dynamics never sound jagged or out of place because they're smoothed out with memorable melodies. The album has a breezy and organic sound thanks to the acoustic guitars which gives the album a great atmosphere which remind me of bands like As The Poets Affirm or Do Make Say Think (in atmosphere, not sound). The flamenco-ish clapping in "1/21" also adds to the atmosphere along with the lovely fender rhodes and horns (or that's what I think it is). The first three songs on this EP share the same atmosphere while "Goodbye" sees the band playing the first electric guitar on the EP. The "lovely fender rhodes" is still present in the song as well as the acoustic guitars, but they're now accompanied by a new instruments: vocals. They aren't just thrown in for the sake of having them, these guys do them well and they do add alot to the overall emotion of the album. Probably my favorite song from the band. Lets just hope they get to experiment with it more on future releases.

This EP was my first taste of this band and I quickly fell in love with their sound and grabbed their other releases. My only set-back is that it's too short! OK. I know this is an EP and EPs tend to be short by nature (unless we're talking about Jakob or Yndi Halda...), but the music here is so wonderful that it leaves you wanting for more. Keep an eye out for these guys, they showed great potential with this release and with their full-length album as well.

3.5 out of 5