TOAD — aka TAKE OVER AND DESTROY — are currently included in New Noise Magazine’s Underground Tournament Of Champions. They’re in it to win it and need your help.
Vote NOW at THIS LOCATION.
The Arizona blackened death rock troupe released their mammoth Endless Night LP last month. Captured by returning producer/engineer Bob Hoag at Flying Blanket Recording in Mesa, Arizona, who worked with the band previously on their mammoth Rotten Tide EP, Endless Night continues to reap critical praise nationally for its dexterous blackened/death/punk/rock fusion.
Elaborates Cvlt Nation: “The balance between the many different sounds on Endless Night is handled with great style and aplomb and it’s to TOAD‘s credit that they don’t let one genre dominate another. The influences are there to be heard yet the band throw them together in such a way as to create a unique sound and a fun as heck record to boot. From the symphonic elements of Emperor to latter day Darkthrone, to shades of Entombed, Endless Night is a rollicking and fast paced record that is steeped in horrific knowledge and a lot of attitude and arrogant swagger.” Add New Noise “What we’ve got here is a group of gentlemen who don’t want to just mix punk and black metal a la Kvelertak, but who want to mix punk with black metal and trippy atmospheres, plus give it a real kick of sludge and make the whole thing as acidic as it is melodic.” The Sludgelord dubs TOAD “the real deal in black ‘n’ roll… Endless Night is dark, scary, twisted and full of great riffs to head-bang/rock out to…,” Pitchfork gushes, “TOAD stick close to their dual strengths, dishing out sludgy doom and bludgeoning black metal in near-equal measure. There’s a strong groove coursing within their veins, though, and they’re not afraid to dial down the brutality in favor of a rollicking beat and a strong element of horror, underlined by Pete Porter’s moody organ playing,” while The Full Metal Attorney adds, “TOAD‘s punky, blackened sludge is a lot like Kvelertak if you couldn’t use the words ‘fun’ or ‘a good time’ to describe their music. Breaks for Kvelertakian riffs can be found in ‘Howling House’ and ‘Boundaries of Flesh.’ But the gang shouts (‘Taste of the Grave’) are less an expression of group excitement than of menace. Where Kvelertak have a whimsical disregard of genre boundaries, TOAD observe those boundaries and occasionally spit on them: organ is everywhere,a guitar solo mimics saxophone (‘Cosmophobia’), and deathrock-style clean vocals appear (‘Boundaries of Flesh’). Yes, TOAD are a lot like Kvelertak. But they’re more like Okkultokrati. They’re not having fun, and don’t want you to either.”
Check out Endless Nights still streaming in full at Invisible Oranges HERE.
Endless Night is available in 180 gram vinyl with a gatefold layout HERE.
“Night time evokes conflicting reactions within the human psyche. As primitive man witnessed the sunset he felt intrigued and thrilled, but most importantly he felt afraid. His terror served to protect him from the chaos and danger of the unknown. The same animalistic fear of the dark remains within us today, though it has migrated into the subconscious. Endless Night exploits both our aversion and attraction to the darkness. Recorded over the course of a full moon and All Hallow’s Eve of 2012, these songs swirl and creep with sinister melodies, then strike with violent hooks. The album is simultaneously exciting and permeating with horror. Our ancestors relied upon the warmth and light of fire to guard them at night. This record captures the dread of that fire being extinguished forever.” – TOAD