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Understated instrumentation stretched and smeared style and genre spectra, as heard in the piano-laden “オトトタイミングキミト”; the drumless rap on “Time Goes”; and the tabla, synth, and chanting in “G.O.O.D L.U.C.K.” Although such experimentation was always foreshadowed by the band’s early EPs\u003cspan\u003e \u003c\/span\u003e\u003cem\u003esongs, ideas we forgot\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2003) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Future Is Now\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2012)—and later echoed by\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOur Latest Number\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2018)—\u003cem\u003eHear You\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis still subdued, a marked departure from the band’s prior work.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNOW I SEE THE LIGHT\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2024), toe’s fourth full-length album, is a bridge between the experimental restraint of their later work and the explosive abandon of their earlier output. 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