Helloooo! Back again with another album review, this time a bUTTONpUSHER release out of Nottingham.

As a semi-regular visitor to gigs there, it’s great to get some more representation of Robin Hood Land following last year’s JT Soar Fest, which was ages ago.

I digress. A-Tota-So are a band that blend grunge, math rock and post hardcore sounds. Always keen to evolve their repertoire, their third album ‘I Told You So’ (technically making this the first eponymous release I’ve covered on the Blog – exciting times) is the first with guitarist Marty on vocals.

Released earlier this month, it tackles themes including mental health battles, grief and the suffocating weight of modern life. Without further ado, let’s push that button… the review button… yeah.

1. Death Rattle

Opening track ‘Death Rattle’ – and the first of three consecutive singles to welcome the listener – is mired in a “sinking sea of shit” as anxious uncertainty and disillusionment reign.

Foreboding, jutting tones accompany a bassline, which all lead us into grungey guitar and clean vocals. While the rhythm underpinning the intro and starting verse is swift, the chorus slows down upon the realisation that “death comes for us all”.

From here though, the pace picks up again, bringing us a crescendo that portrays a desperation to escape ghosts of one’s past. Indeed, the grunge influences are clear to hear on this one.

2. Form of Mass

“When did this world become so ugly?” is a key question posed by track two, and second single on the list, ‘Form of Mass’.

Quirkier, math-rock guitar and drum work is present, with a drum-filled breakdown underpinning prose of desperation.

There is more intent to change one’s current situation in the narrative; to “make our mark”, compared to the previous track. Alas, the protagonist fails to feel “completely free” from an anxious disposition.

3. Masks

The singles on ‘I Told You So’ are rounded off by ‘Masks’, which initially mocks platitudes encouraging maintenance of a brave face regardless of current emotions.

While wondering “How long will this last?”, the protagonist experiences the dragging of “chains I swore we cut”.

Light guitar tones and clean vocals remain prominent at first, which only emphasise the delirious disillusionment with society. But halfway through, the tone shifts completely, presenting harder drums and angry chants representing the cracking of a mask that has withstood all it can endure.

4. GRLD

The pace is brought down a peg for some intrusive thoughts from one’s mind, on ‘GRLD’. Some very nice harmonies come through on this one, as a fear that “time’s running out for you” sets in.

Ever-present jangly guitar plucks are given more room to work their grungey magic, before another breakdown bombards the ears, as those thoughts state that “You’ll have to live with all these consequences”.

I’m reliably informed that ‘GRLD’ is named after a mouse named Gerald. Nothing to do with the song itself, but a cute tidbit nonetheless.

5. Traced Lines

‘Traced Lines’ is by far the shortest track on the album by far at just over two minutes, and brings drum fills aplenty that fit well with the whole math rock thing.

Lyrically melancholy and reminiscent, the song focuses on wrong turns made in life, and some regret about “every word we wished we’d spoken”.

As plucking transitions into noodling later on, the song’s refrain repeatedly implores the listener to “fight for what you believe”. Evidently, the protagonist finds enough fight from within to overcome bad memories and use them as fuel going forward.

6. No Tears No Sound

From the shortest song on ‘I Told You So’, we immediately advance to the longest at over six minutes. ‘No Tears No Sound’ greets the listener with more fast drum patterns, along with doomsaying riffs.

Verses share wisdom of seeing “too much blood, too much pain”. The melodic chorus, meanwhile, begs to be taken home, for “I have seen too much”.

Along with the grunge-inspired lyricism, I also got TOOL vibes from the extended instrumentation in this one.

7. Exit Wounds

Penultimate song ‘Exit Wounds’ returns to lighter rhythms and higher-pitched plucking. Here, the protagonist asks for help out of dark times.

There is more hope present in the mosaic of feelings underpinning this track, with a choice to embrace the occasional road that “might not lead you home”.

The post-chorus refrain in this one insists that emergence through a storm of misadventures is “just the way it must be”.

8. Raykens

The album closes with the ongoing struggle to “save me from myself”, with renewed hope for a better future.

Gradually incorporating heavier riffs and an eclectic mix of drum patterns again, there is a particularly headbangable build-up that fittingly portrays the quest for inner peace.

With some chime-like elements brought into the foreground towards the end of ‘Raykens’, the album ends with almost choir-like delivery of the message “There’s hope for us all”.

Closing Remarks

At times, I felt out of my depth covering A-Tota-So’s third album, due to my lack of knowledge of time signatures and math rock elements more generally. However, I found the range of riffs at the band’s disposal very enjoyable, and the lyrics relatable.

The thread of mental scars that runs through the release hits true in the current landscape of social media algorithms that sometimes prioritise potentially harmful content. Plus, I felt Marty did a fab job putting the album’s narrative across in his first appearance as lead singer, with [mostly] clean and impassioned vocals.

If you like the idea of inspirations from grunge bands like Pearl Jam or Soundgarden, merged with math rock and post hardcore sensibilities, A-Tota-So are definitely worth checking out. Then once you’ve listened to the album, I can come over to you and say “I told you so“, hehehehe 😎

*Clears throat* Anyway, thanks very much to the band for the opportunity to review this great release. And of course, many thanks to you for reading!

Until next time, up the Posh, and up the Punx 🤘