Disruption is a hard pill to swallow for many people, especially the ones who hate-watch the unconventional coupling of Fearless Records’ NOT A TOY. The four-man crew is anything but polite about disturbing the status quo of the rock genre.
In fact, lead vocalist Branson Hoog, guitarist Jeremy Marmor, drummer Benji Spoliansky, and pianist and violinist TJ Wessel, who make up NOT A TOY, have been commissioned to unravel the draconian binding cords of traditional rock by wantonly intermixing genres — a forbidden “no-no” to many diehard rock fans.
What results is a potent omnium gatherum of varying rock-esque sounds with measured insertions of pop, hip hop, country and experimental music. Simply put, NOT A TOY can’t be defined.
That is certainly proven on the collective’s latest project Live At The Toy Factory: 11.18.20. Debuting alongside a livestream performance on YouTube, the three track album consists of the live version of previously released singles from their self-titled EP, “J Cash” and “Antidote,” in addition to new single “Attention.” Each song demonstrates the many dimensions of NOT A TOY.
Whether it was intentional or not, pacing of the album starts in high gear with uptempo song “J Cash” before transitioning into the mid-tempo “Antidote,” then ebbing into the slow tempo “Attention.” It’s a masterful strategy that demonstrates the fluidity and flexibility of the collective to effortlessly switch genres.
The sonically triumphant “J Cash” builds on narratorial omnipotence in its strikingly self-aware declaration. The live version comes with a moment of genuine sincerity, delving into the real emotion of a music group that has withstood the fire.
In the final 48 seconds of “J Cash,” Hoog pours out what’s left of his spirit as he reflects on NOT A TOY’s laborious rise through the ranks. Hoog sings, “Now we blowin’ up you can’t explain this | I remember being fame-less in the basement | Now they always asking how do you do what you do? | How do you do what you do? I simply do.”
In “Antidote,” NOT A TOY wrecks havoc in the most melancholic way. Hoog’s inviting voice surreptitiously leads the listener into thinking that the “Antidote” will be a pleasant journey even with its very direct lyrics — that is until NOT A TOY rips through the tranquil narration with an alarming heavy bass followed by Hoog pivoting from singing to rapping. “Antidote” leaves a trail of prismatic fragments that tinkers with the imagination on how awesome a performance of this song would be in concert, especially in a post-COVID world.
Listen To NOT A TOY’s Music On YouTube
The album then transitions into its third and final song. “Attention” flirts with a contemporary pop sound backed by sentimental piano rubato and dynamic guitar flairs. For two minutes and 10 seconds, the collective places their bid for top pop song in an unfeigned delivery that could easily compete with the likes of Ed Sheeran, Khalid, or Justin Bieber. If it wasn’t made clear before, NOT A TOY once again proves that they don’t fit into any preconceived notion of what a rock band is or how their music should be made.
Students of music, NOT A TOY thrives on continuous evolution and has every intention of pushing boundaries, breaking rules, and conquering new territory. It would only make sense being that they have mastered creating their own clothing line and artwork — making the term “collective” a much more appropriate label than “band.”
“NOT A TOY is not just a band; it’s a lifestyle of art and creation,” Hoog said. “We’re not the first to combine different genres of music, but we’re also actually blending other art forms—from streetwear to art shows. We’re a snapshot of this generation’s tattooed youth and bedroom beat-makers. We’re just creating, and there are no rules to creation.”
NOT A TOY’s Live At The Toy Factory: 11.18.20 is an unpredictably, boundless project that perfectly reflects the many sides of the four-man collective. Hoog, Marmor, Spoliansky, and Wessel may be called NOT A TOY, but one thing’s for certain — music is their playground.
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