Wataru Sato, aka Gecko, is a Japanese pianist and has created a vast repertoire of works based on electronica and modern-classic music since his recording debut in 2010. Augmenting his solo work and various commercial offshoots for TV and film, he formed Gecko & Tokage Parade in 2013, a four-piece instrumental band with a traditional keyboard, guitar, bass and drums formation, specialising in fusion music.
Rawment is the band’s seventh album, following on from 2023’s Heart of Tokage. It is mainly a compilation of single releases from the last couple of years, plus a couple of new unreleased tracks. Heart of Tokage, to my ear, contained some clear 70’s era references, from Pearl and Dean to Al Stewart, Weather Report and even classic Yes. Rawment features synthesisers as additional and prominent elements this time round, and has a distinctly 80’s feel to it.
The synthesisers are not used in the background to provide washes of sound. Specific tones are used to pick out melodies with the piano, guitar and synths all taking turns in the spotlight. There are no samples or effects used, no string or brass arrangements, just the four of them having fun with some catchy tunes, blending jazz, pop, rock, electronic and progressive influences, with the ‘Gecko & Tokage Parade’ sound binding it all together.
The experimental nature of this set of tunes does mean that there are some ‘marmite’ moments and less consistent quality compared to the more conventionally constructed Heart of Tokage but the quality of the body of work that Wataru Sato has created allows some leeway for the band to stretch themselves, and for the listener to immerse themselves in a different musical / cultural universe.
Rawment is one of the newer pieces and it kicks off the album with one of the band’s trademark catchy, joyful pop/rock tunes, replete with guitar riffs and supporting piano melodies.
Thousand Knives also has these key Gecko & Tokage Parade elements, but also incorporates synths. This is one of the more jazz-influenced tracks and is a hugely successful fusion of diverse influences, reminiscent of Bruford. The synths are incorporated judiciously and the new tones add positively to the vibe. What a great start, and Dusty Future follows with a funky Latin-infused fusion with bass and drums laying down an immaculate groove. The main melody from the synths has the right feel but the tone comes directly out of the early 80’s playbook and lacks some sophistication. Re:Pulse is more laidback, some relaxing electronic lounge-jazz rhythms to contrast with the more hi-energy opening sequence.
The next section of the album is more hit and miss, if you know what I mean. Up next is Laila and we move into Spandau Ballet, et al, territory with a twangy guitar riff. What happens in the middle of the song is far more interesting, but the riff reappears towards the end to create on odd and unappetizing sandwich. This is followed by Inheritance, a re-working of a TV theme, sounding very much like, well, a re-working of a TV theme. It just has the feel of a one-off, with a short, simplified riff at its heart and some extra sections shoe-horned in. GGS is a full-on 80’s-style synths workout. Experimental? Marmite? Unsuccessful? Yes, I’d say all of those apply, in this case.
Fortunately, the remaining tracks are a return to form. Struggle has a darker tone and a restrained, rhythmic, cool, late-night jazz feel. It’s also a return to the piano for Waturu, and the only downside to it is that it feels like a song that could have been developed further. In fact, Sea and Night, that follows, has a very similar, though lighter, main melody to Struggle. They sound to me like two sides of the same coin and could perhaps have been inter-woven successfully into a longer-form track.
Transit is another classic Gecko & Tokage Parade sounding tune. Light and fresh, the arrangement of the piano, guitar, bass and drums works beautifully, drifting effortlessly from lullaby to soundscape and back again. Delightful. Moment closes the album with another melodic masterclass, successfully melding a mixture of keyboard sounds with some intricate guitar work.
The additional keyboard components have provided the band with an extra dimension and when it works it works extraordinarily well. Think Bruford mashed up with a bit of Greenslade and you won’t be far wrong. When the synthesiser sound of the 80’s steam-rolled over the classic 70’s ‘authentic’ sound the result was often fairly calamitous, but it could also be absolutely amazing. This album reflects both sides, to be fair, but that’s fine. Accepting that the outcome of experimental music will be both uplifting and challenging is what listening to ‘progressive’ music is all about.
TRACK LISTING
01. Raw (3:10)
02. Thousand Knives (5:35)
03. Dusty Future (3:41)
04. Re:Pulse (3:56)
05. Laila (4:29)
06. Inheritance Detective (3:33)
07. GGS (4:15)
08. Struggle (4:09)
09. Sea & Night (3:42)
10. Transit (3:27)
11. Moment (3:59)
Total Time – 44:04
MUSICIANS
Wataru Sato/Gecko – Piano, Keyboards
Keitaro Kurosawa – Guitars
Takuya Nakayama – Bass Guitar
Subaru Anayama – Drums
ADDITIONAL INFO
Record Label: Bookshop Label
Country of Origin: Japan
Date of Release: 5th September 2025
LINKS
Gecko & Tokage Parade – Facebook | Bandcamp | YouTube | Instagram
Wataru Sato/Gecko – Website | Facebook | Bandcamp | X | Instagram
