ALBUM REVIEW: Lights Out – a-tota-so

It’s instantly apparent that there’s something different about A-TOTA-SO on their second full-length Lights Out. Whereas the Midlands-based math rockers’ 2018 self-titled debut found them mixing twinkly melodies with occasional heaviness as an instrumental three-piece, this record lurches into life with the forceful bark of Jake O’Driscoll of GOD ALONE from the first moments of opening track Choke. It’s by no means a one-off either; A-TOTA-SO have brought their friends in this time, and it looks like they have a lot of them.

Lights Out comprises eight tracks each featuring a different guest vocalist drawn from various corners of the underground’s very finest. It’s a bold, relatively unique approach, with each vocalist given free reign to do what they wanted over the instrumentals. That may sound like it runs the risk of incoherence or self-indulgence, but fortunately that isn’t what happens here. Instead, the core trio of guitarist Marty Toner, drummer Jamie Cattermole, and bassist Chris Marsh provide a consistently cohesive back-bone to proceedings, the three of them weaving in and out of one another to pull an intricate and dynamic through-line across the record’s tight 35-minute runtime.

Interestingly though, the presence of vocals isn’t the only thing that feels different about Lights Out. A-TOTA-SO are definitely noisier and punkier than when we last heard from them, and there’s often almost a post-hardcore quality here too. The aforementioned opener is a prime example, with O’Driscoll’s harsh shouts interspersed with crunchy riffs and spidery guitar lines. Fourth track Squirrel Bait bristles with a similarly punky energy, this one featuring Kieran Hayes of WE COME IN PIECES, while recent single Footprints On The Ceiling sees the band joined by Brian Scally of GANGLIONS to evoke an always welcome AT THE DRIVE-IN comparison in the song’s chaotic second half or so.

All that said, Lights Out isn’t without its striking moments of delicacy either. Perhaps most obvious in that regard is the album’s third track and lead single I Am…. Featuring Aisling Whiting of SANG FROID, it’s a warm and wistful piece, with additional strings provided by Realf Greville Heygate. Whiting’s vocals sound particularly exquisite here, these following the band’s ebb and flow across the song’s richly-layered four-minute runtime. Even the aforementioned intensity of Footprints On The Ceiling erupts from a place of relative quiet too, again highlighting a strong command of dynamics that ensures Lights Out holds its listeners’ attention with ease.

There’s certainly an argument to suggest that the band save the best till last with album closer When The Waves Come. This one features Ashley Tubb of SUGAR HORSE – himself behind one of the finest releases of last year in The Live Long After – and stands unsurprisingly tall as a result. For the most part, Tubb‘s vocals are utterly apocalyptic, with the band mining almost TOOL-esque riffing behind him. He even delivers near full-blown death growls at one point, with the track closing out with repeated hypnotic chants. It’s quite the way to end the record, and surely the best thing the band have done to date.

Ultimately, A-TOTA-SO’s decision to include vocals on Lights Out pays off in dividends. In doing so, the band feel far more song-focused here, while still showing off an impressive degree of instrumental virtuosity. It all sounds great too, thanks in particular to the mixing and mastering of Rich Collins. Its variation is a welcome strength, and it never really loses a sense of the band at its core either. All this is to say that Lights Out is a triumphant second outing for A-TOTA-SO, and one that should see them expand their relative niche to more audiences across the UK underground and beyond.

Rating: 8/10

Lights Out is set for release on March 11th via bUTTONpUSHER.

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