For TOLEDO, 'How It Ends' is just the beginning. Read pscottrussell's review:
“Guster meets Duster,” while Álvarez cites Indigo Girls as the band’s foremost influence. Many have likened their music to Wild Pink’s pop, rock and folk amalgam , though their gentle, melodic sound and seamless creative chemistry calls their Grand Jury Music labelmates Hovvdy more readily to mind. They’ve collaborated with Jay Som’s Melina Duterte, whose gauzy guitar-pop presence is felt.
It can be difficult to unravel the duo’s intertwined experiences, which feels like precisely the point. When TOLEDO sing about childhood abandonment issues on opener “Soda Can,” an old friend mired in self-pity on “Hideout,” a drunken deadbeat dad on or the belief that romantic relationships cause more hurt than they’re worth on the Duterte-produced title track, there’s no sense in wondering which member of the band those thoughts belong to—they belong torevolves around Álvarez and Dunn-Pilz’s troubled upbringings, and the ways their parents’ broken bonds have shaped their own lives.
Though they’d be the first to tell you that healing and growth aren’t linear, TOLEDO are able to imbuewith a strong arc, touching the third rail of trauma before moving towards emotional stability. They trace their troubles back to childhood on “Soda Can” and “Boxcutter,” see their depression reflected back at them on “Hideout,” acknowledge the agony of working through it all on “Keep It Down!” and then plow ahead doing exactly that in the album’s midsection, its strongest stretch.
The album’s emotional progression is quite well-defined; its sonic progression, less so. Where most bands would frontload their debut record with a handful of their strongest songs, TOLEDO play the long game instead, saving their most anthemic vocal hooks and immediate grooves for the tracklist’s center.
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