Madrid-based fuzzbenders Free Ride released their sophomore LP, Acido y Puto, on Aug. 9 through Small Stone Records. Led by the guitar work and songcraft of Borja Fresno Benítez — also vocals, percussion, production and the sitar near the start of the record in the mellow opening jam of “Space Nomad” — with Victor Bedmar on bass and Carlos Bedmar on drums, the trio offer Nebula-style heavy psychedelic rock on a per-slab basis, swaying into more tonal warmth around a desert-style foundation and, for the first half of the tracklisting, trading between longer and shorter songs.

“Outsider,” with a video premiering below that, yes, makes Alf a metaphor for feeling ‘other’ in life — perhaps this was true of the tv show as well; pardon me if I don’t do a rewatch — is more straight ahead and veers into a gruffer and more aggressive section of riffing and harder vocals, but that volatility becomes part of the appeal of the album as a whole, along with the variety that emerges between the psychedelic and the stoner rocking, “Kosmic Swell” picking up from the end of “Outsider” for three minutes of watery guitar jamming before the riff kicks in, riding that down a scorching desert highway to resolve in solo-on-solo layering and tumult before its own crashout brings the next song, next change.

Maybe it’s not that radical, but it is rad, and it heats up as it goes. I don’t know if tripping and fucking are themes in the lyrics as the title presents them, but fair enough. The way it works is each of the nine tracks — whether it’s the back and forth that culminates in centerpiece “Nazaré,” which follows the dreamy-start-into-fuzzy-roll pattern of “Space Nomad” and “Kosmic Swell” and is particularly smooth in the realization of that, or the crunch and wah in “Steamroller” and the succession that song starts. Running 53 minutes in linear formats — that’s your downloads and compact discs (the format of the future if the future is 1986, which it is) — the vinyl tumbles the tracklisting some, putting “Kosmic Swell” at the end of side A with “Nazaré” opening side B, which makes sense since “Space Nomad” still opens.

In either case, the flow is consistent and largely uninterrupted; you wouldn’t call Acido y Puto less hypnotic for putting the two longer songs next to each other. Sacrificed for time are “Joy” and “Living for Today” — am I crazy or is there a meta-statement being made there? — and those are worth hearing for the burner desert swagger of the former and the ease with which Benítez intertwines riffs and leads and the turn to acoustic-electric blend in “Living for Today,” underscoring the post-Eddie Glass vibe that pervades to various degrees throughout. Not that “Blackout” — the shortest song at 3:42 — doesn’t work as a closer in its catchy “fucked to the bone” pining for Sin City chorus and Echoplex-noise swirl before it ultimately blacks out, but it is a change in character that plays into the overall mood of the record, one to the other.

However you might hear it — the stream’s at the bottom of this post, down near the links, if you’re still reading — it’s to Free Ride‘s credit that the character is there at all to be changed. Whether one chooses to dwell in the quiet intro stretches of “Space Nomad,” “Kosmic Swell” and “Nazaré” or be duly bowled by the Fu Manchuey riffing of “Steamroller” and the initially-languid-later-guttural swagger of “Outsider,” Acido y Puto undersells its diversity of intention but encapsulates a cohesive interprettion of psych-leaning heavy rock and roll. It’s not without atmosphere or scope, but as each component song finds its own space within that, the front-to-back listening experience is bolstered by what in a less-envisioned setting might just feel incongruous. Outwardly, they’re keeping it simple — “What’s it about?” you might ask, and the name of the record would be the answer — but the way they build around a groove is endearing as much as familiar-in-part, and immersive in its unfolding regardless of format. Open your heart and let riffs in.

The aforementioned video for “Outsider” premieres below and is a good time. As always, I hope you enjoy:

Free Ride, “Outsider” video premiere

Born from the smoky depths of underground jam sessions in generator parties, Free Ride emerged from the haze with a thunderous blend of stoner rock, psychedelic grooves, and cosmic vibes. Formed in Madrid (Spain) by childhood friends Borja Fresno (vocals/guitar), Victor Bedmar (bass) and Carlos Bedmar (drums), the band came together in 2016 with a shared passion for heavy riffs and mind-expanding melodies.

For their second album, ‘Acido y puto’, the band sought to capture the raw energy that flourished within the confines of their humble rehearsal room. Armed with nothing but their instruments, a few microphones, and an insatiable desire to create, they set out to capture the essence of their sound in its purest form. Produced by Borja himself and mixed and mastered by Matt Dougherty in Chicago, IL, the band’s DIY ethos permeates every aspect of the recording process, from engineering their own sessions to experimenting with different mic placements and recording techniques.

‘Acido y Puto’ it’s a sonic exploration of the human psyche and the depths of the unknown. This album delves into the mysterious and often unsettling aspects of existence, inviting listeners to confront their fears and embrace the darkness within. Musically, is a sonic journey that defies categorization, blending elements of psychedelia, punk-rock or even surf-rock into a fascinating soundscape. The result is an album that shimmers with crude intensity and cosmic energy, where each track is a testament to the band’s unyielding dedication to their craft.

Tracklisting:
1. Space Nomad 8:34
2. Outsider 4:23
3. Kosmic Swell 9:34
4. Vice 3:50
5. Nazaré 9:30
6. Steamroller 4:32
7. Joy 4:31
8. Blackout 3:42
9. Living for Today 4:24

Vinyl Tracklisting:
Side A:
Space Nomad: 8:34
Outsider: 4:23
Kosmik swell: 9:34

Side B:
Nazaré: 9:30
Vice: 3:50
Steamroller: 4:32
Blackout: 3:42

All songs written by Borja Fresno Benítez.
Recorded in Madrid, Spain by Borja Fresno Benítez.
Produced by Borja Fresno Benítez.
Mixed and mastered by Matt Dougherty, Chicago, IL.
Vinyl mastering by Chris Goosman at Baseline Audio Labs, Ann Arbor, MI.
Artwork by Borja Fresno Benítez and Carlos Bedmar.

Video credits:
Written & directed by Free Ride
Actors in costume – Álvaro Valadés and Sara Hernández
Cameras & Gaffer – Carlos Paris and Mariana Aznar
Edit – Carlos Bedmar

Free Ride is:
Borja Fresno Benítez: vocals, guitars, synthesizer, percussion, sitar
Víctor Bedmar Lam: bass
Carlos Bedmar Lam: drums

Free Ride, Acido y Puto (2024)

Free Ride on Facebook

Free Ride on Instagram

Free Ride on Bandcamp

Small Stone Records on Facebook

Small Stone Records on Instagram

Small Stone Records on Bandcamp

Small Stone Records website

At least part of the PR wire text below comes from the bio I wrote for Shun‘s second full-length, Dismantle, which is coming out through Small Stone Records on July 19. I think from after the first sentence through the part where Matt Whitehead comments on the first single “Drawing Names,” maybe? There was a press quote in there too, but yeah. In any case, let the point here be the song, since as the guy who wrote the bio I’ll tell you outright you and the band both are probably better served just by hearing the song, which is in the embed at the bottom of the post.

Heavy post-hardcore rock? Emo-informed progressive grungegaze? I don’t know how you categorize it — which should make writing the review a blast — but Dismantle follows behind the Shun‘s 2021 self-titled debut (review here), and I didn’t know how to categorize that either, but I enjoyed it. The new one’s a banger too, as it happens.

Info follows in blue. You know what’s up:

SHUN: North/South Carolina Rock Outfit To Release Dismantle Full-Length July 19th Via Small Stone Recordings; New Single Now Playing + Preorders Available

North/South Carolina heavy rock outfit SHUN will release their long-awaited new full-length, Dismantle, July 19th via Small Stone Recordings!

SHUN released their self-titled debut through Small Stone in 2021. Dismantle continues several crucial threads from the debut in terms of songwriting and the returning production of J. Robbins (who also contributes percussion, guitar, and synth), while expanding their scope with a more refined crunch and drifting, ethereal outreach. It is heavier and paints a broader landscape in Matt Whitehead’s vocal and guitar melodies, able to take a prog-metal chug in “Horses” and reshape it as the backdrop for weighted post-rock while refusing to sap its own vitality in service to shoegazey posturing.

Punk and noise rock such as Cave In and Hum feel like touchstones as much as Sabbath and whom- or whatever might’ve inspired the crush tucked at the end of “You’re The Sea,” and while Dismantle may hint as a title at notions of things coming apart, there’s as much being built in its ten tracks as is being destroyed. What results from the trio of Whitehead, bassist Jeff Baucom, and drummer Rob Elzey (Bo Leslie has since joined on guitar, re-completing the lineup) is material varied in its purpose but drawn together in traditional fashion by the electricity of its performances. The band-in-the-room feel in the methodical rollout of opener “Blind Eye” is all the more resonant with the debut having been remotely assembled during plague lockdowns.

Does that make Dismantle something like a second first album? Not really, but if it helps you get on board, you probably won’t get a ton of arguments. While Whitehead’s past in Small Stone denizens Throttlerod is still relevant to SHUN in some essential and riffy ways, SHUN steps forward with Dismantle and declares their meld of styles in tracks like “The Getaway” and “Interstellar” which are able to push, pull, crash down loud, or recede into float as they will. That they’d wield such command in their craft likely won’t be a surprise to those who took on the self-titled, but among the things Dismantle undoes, it strips the listener of expectations and replaces them with its unflinching creativity and refreshingly forward-looking take.

Comments Whitehead on the band’s first single, “‘Drawing Names’ was written in its entirety in under 30 minutes while jamming at our drummer’s house. I’ve found those quick-to-come-together songs that aren’t over-thought and overworked often turn out the best… go figure. The recording of the track was super fun and collaborative as well. I’ll never forget J. Robbins crouched down by my delay pedals turning knobs while I played one section. And then he later added a double tambourine part in the chorus which we absolutely loved.”

Dismantle, which features artwork by Alexander Von Wieding, will be released on CD, limited LP, and digital formats. Find preorders at THIS LOCATION: https://smallstone.bandcamp.com/album/dismantle

Fans of Torche, Cave In, Alice In Chains, Failure, ASG, and huge riffs, pay heed.

Dismantle Track Listing:
1. Blind Eye
2. Aviator
3. Horses
4. Drawing Names
5. Storms
6. NRNS
7. You’re The Sea
8. The Getaway
9. Through The Looking Glass
10. Interstellar

SHUN – Dismantle Record Release Shows:
7/19/2024 The Odditorium – Asheville, NC
7/20/2024 Swanson’s Warehouse – Greenville, SC
7/26/2024 New Brookland Tavern – Columbia, SC
8/02/2024 185 King – Brevard, NC

SHUN:
Matt Whitehead – guitar, vocals
Rob Elzey – drums
Jeff Baucom – bass
Additional musicians:
J. Robbins – percussion, synths, guitar
Bo Leslie – guitar

https://www.facebook.com/ShunTheBand
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http://shuntheband.bandcamp.com

http://www.smallstone.com
http://www.facebook.com/smallstonerecords
http://www.instagram.com/smallstonerecords
https://smallstone.bandcamp.com/

Shun, Dismantle (2024)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Joey Toscano of Iota

—

How do you define what you do and how did you come to do it?

In order of priority, I live a life and then I write songs about it. Art comes out of living, so I don’t put music above everything else, or try to live by some fixed identity like, “I’m a musician”. I observe my own living and mindstream within this absurd world — experiencing the suffering and the joy just like everyone else — doing my best to fully experience, equally, the mundane and the extraordinary, though I don’t claim to be exceptionally good at that part. And then out of that, at the very bottom of the funnel, there just happens to be a preference for communicating and sharing it via music/sound. It’s all play and pretend.

I’ve come to it in different ways between 10yo, 20yo, and so on. Very recently, I’ve come to do what I’m doing now because a friend asked me to play the leads on a record he wrote. I wasn’t very active at that point, but found motivation in wanting to help a friend realize his musical vision. That in turn lead me to being inspired to finish an album that’d been sitting on the shelf for a few years. Then that lead to inspiration for writing another album. Interconnectivity and an infinite web of new starting
points.

Describe your first musical memory.

Probably about 5 years old, I’d pretend our vacuum cleaner was a microphone—singing along to mom’s Journey and Michael Jackson records. I’d also spend hours just flipping through the records, soaking in the cover art. Lots of CCR, Beatles, Elton John, Neil Young. That’s what I remember being in her collection.

Describe your best musical memory to date.

I’ll go with the first record I ever connected with on a level that had me obsessed with listening to it all day, every day. That moment when you’re a kid and you get your first Walkman. Just completely absorbed in the music and your own emotional world. Pissing off your parents because you can’t hear anything they’re saying. That seems to be where everything has sprung from.

When was a time when a firmly held belief was tested?

Great question. I’d say it’s usually when I put my head on the pillow at night. Not every night, but that’s the typical scenario. It’s when the realization hits hardest that something I was clinging to or arguing about so intensely doesn’t really matter at all. All the plans I was making, all the mundane things I thought I wanted to align myself with. All of it just vapor. I used to firmly believe that life is just a straight line, but over the last 10 years or so, I’ve experienced some things that have shaken that belief and I realize now that it’s something much different than that. I have faith that most of our beliefs are bullshit.

Where do you feel artistic progression leads?

Well, if done with the right intention, I think perhaps enlightenment? Or at least towards a clearer, more positive understanding of one’s perceived self and their place in the world. An understanding of how your chosen craft can be of benefit to others is critical. I like that Japanese term, Shokunin. Such a great concept for artist progression. Whether you’re a mechanic, electrician, chef, writer, accountant or musician. You have a responsibility to master your craft. And in turn, you benefit someone else with that mastery. I could be misinterpreting it, but that’s how I understand it. If you put the mastery of your craft into that perspective, then the ego will eventually dissipate.

How do you define success?

A relative state of being where one has stabilized in genuine peace of mind and happiness, regardless of their situation.

What is something you have seen that you wish you hadn’t?

Seeing my dog get run over.

Describe something you haven’t created yet that you’d like to create.

I fantasize about doing movie soundtracks, though everyone I know who’s done it tells me it’s usually an excruciating process.

What do you believe is the most essential function of art?

Essential function is to teach us about ourselves. That doesn’t make the artist the teacher, though. How we perceive art says more about us than it does the creator. If something disgusts us, we should ask ourselves why. Same goes for when something elates us. This is why the same piece of art can have so many different meanings.

Something non-musical that you’re looking forward to?

It will sound really boring but I look forward to doing absolutely nothing and being completely content about it

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https://www.iotaslc.com

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Iota, Pentasomnia (2024)

[Click play above to stream Iota’s Pentasomnia in full. It’s out this Friday, March 22, through Small Stone Records.]

Behold the album of five sleeps. Positioning themselves at the junction between the conscious and unconscious feels fair enough for Salt Lake City trio Iota, whose five-track Pentasomnia LP marks a return from the ether some 16 years after their debut, Tales (discussed here, also here, and I wrote the bio for the reissue), appeared via Small Stone Records and heralded a new generation’s take on what turn-of-the-century heavy rock had accomplished, blowing it out with purposefully epic jamming and putting cosmic-minded heavy, blues and intense desert thrust together to create something immediately of its own from it. I could go on about it — which is obvious if you click those links — but the bottom line is Iota tapped into something special and the 32-minute Pentasomnia is arrives not as the follow-up Tales never got, but as a new realization of self formed from the same components.

Founded in 2002 by guitarist/vocalist Joey Toscano (also synth), who would put out two albums with the more pointedly bluesy Dwellers in 2012’s Good Morning Harakiri (review here) and 2014’s Pagan Fruit (discussed here, review here), Iota solidified as the trio of Toscano, bassist Oz Yosri (who’d later join Xur and Bird Eater) and drummer/engineer Andy Patterson, who had already joined SubRosa by the time Tales was released, would play with that band for the rest of their time and is now in The Otolith and sundry other projects in addition to helming recordings at his studio, Boar’s Nest. That’s where Pentasomnia was assembled and recorded, at least partly live, between late 2018 and early 2019, to be mixed at some point in the last half-decade by Eric Hoegemeyer, mastered by Chris Goosman and issued now through Small Stone.

Those who caught onto Iota and made the jump to Dwellers will recognize elements of his approach in Pentasomnia, particularly in the vocals. Where much of Tales was topped by a reverb-laced Pepper Keenan-esque shout, Pentasomnia brings a more patient take, melodic layers weaving into and out of harmony on closer “The Great Dissolver,” which loses none of its guitar’s shimmering resonance for being just three and a half minutes long and which, like much of what precedes it from the immediately-into-the-verse-maybe-because-it’s-been-long-enough smokey blues of leadoff “The Intruder” onward, feels suited to the dream-state being conveyed. “The Intruder” soon enough fills the space in the mix left open in that verse with rolling distortion and a solo overhead, building through the chorus, exhales and inhales again during the bridge (instrumentally speaking) and shifts into a cascading gallop before the riff and vocals come back ahead of the final comedown. Toscano‘s delivery complements both languid sway and Pentasomnia‘s most active moments, lending character and emotional depth to the songs as a defining feature.

One of the two longer inclusions at 8:14 — the other is centerpiece “The Returner” at 9:15 — “The Intruder” is perhaps named for that willful post-midpoint flow disruption, but the work that the opener does in aligning the listener to where Iota are circa 2024 (or were circa 2019, as it were) is pivotal. It tells you in clear terms that at no point on Pentasomnia are Iota trying to dream it’s 2008, but back then you could hear them pushing themselves creatively and you can hear it now too.

Amid the Soundgardeny thrust of “The Timekeeper,” the vocal reach at the end preserves the moment where breath gives out, and the way the three of them dig into the angular-but-fluid rhythm of “The Witness,” meeting a riff that wouldn’t be out of place in progressive metal with an organic nod and distinctly grunge-tinged vocal harmonies, likewise comes across as a manifestation of personal growth. If you are or think you are the same person now you were 16 years ago, well, you might want to have a hard look at that. By not aping what they did on the debut, by not trying to rebottle that particular lightning, Iota allow themselves to emphasize the sonic adventurousness was so much a part of the band’s appeal in the first place. Pentasomnia doesn’t take you to the same places as Tales, and it’s not supposed to. This is a new journey.

I suppose all of this is in some way an attempt to prepare those who got on board with Tales for the differences in aesthetic and intensity wrought through Pentasomnia, but honestly, I’m not sure it’s that big a deal. It’s the same players, even if Yosri is credited as Oz Inglorious, and the new collection is unquestionably a richer listening experience that accounts for Iota as its own entity in its creative drive, atmosphere and groove — Yosri‘s basswork being the very opposite of his nom de plume — while sharing its predecessor’s lack of pretense and bent toward individual expression in an updated way. I was a big fan of Tales. Hell, I had it on yesterday ahead of writing this review. It holds up. Pentasomnia says and does more than Iota could have during their first run, codifying elements of their style that they never had the chance to reaffirm as their own in Toscano‘s sleek riffs and transcendental soloing and Patterson‘s stately flow on drums — both the motor behind “The Witness” and the sunny hilltop on which the pastoralia early in “The Returner” takes place — and a range in songcraft that makes them all the more identifiably themselves.

The inevitable next question is to what, if anything, it will lead. A threat of live shows has been issued, but would Iota come back after 16 years, put out an album and do ‘select appearances’ in the manner of, say, Lowrider? I don’t know. Further, if these songs started coming together in 2018 and are landing now, what does that mean for their future? Could they not already have another LP ready to go when they need it, and is it any more or less likely that Pentasomnia will land, hit hard with those it’s going to hit hard with, and the band will re-recede in the face of other priorities in music and life, possibly either for good or some other extended period of time? I don’t know that either. And like the shifts in sound, those kinds of considerations become secondary to the actual listening experience. Part of what allowed Iota‘s music to endure over the course of their long absence was the cohesion they found bringing disparate ideas together. Pentasomnia feels a little more like a fourth LP than a second in how it’s grown, but if you’d hold that against it, you’re making the choice to miss out.

I find that, as regards bottom lines, I’m just really glad Pentasomnia exists. Again, I’m a fan. It’s personal for me, and I’m not going to try to speak to anyone else’s experience. I’d heard rumblings of Iota activity circa the end of the 2010s, but can’t say I ever realistically expected anything else from them, and even if I had, I likely wouldn’t have imagined the kind of progression they have on offer. Whatever is to come or isn’t, the dreams they’re having are real and vivid. This is worth appreciating now before we all wake up and everything disappears.

Iota, “The Timekeeper” official video

Iota on Facebook

Iota on Instagram

Iota website

Small Stone Records on Facebook

Small Stone Records on Instagram

Small Stone Records on Bandcamp

Small Stone Records website

If you were hanging around these parts earlier this month, you already knew Iota would return this year with their first album since 2008’s epic-and-I-don’t-always-call-things-epic debut, Tales (discussed here and here). That’s news to me, I don’t know about you. Good news. If you dug what guitarist Joey Toscano brought to the two Dwellers full-lengths on Small Stone in terms of melody and emotion, that melds gorgeously on Pentasomnia with a style of bluesy desertism that even Tales, broad as it was, only half defined.

Yeah, I’ve heard the record. The bio I wrote for it, which is what’s linked above, also came in with the PR wire confirmation of the March 22 release for Pentasomnia and the track stream for “The Returner.” Which you should hear. Here, let me stop talking so you can get on that.

Go go go listen listen listen and then probably preorder or something:

IOTA: Salt Lake City Cult Psychedelic Rock Trio To Release Pentasomnia Full-Length March 22nd On Small Stone Recordings; New Track Streaming + Preorders Available

Cult psychedelic heavy rock trio IOTA will release their long-awaited Pentasomnia full-length on March 22nd via Small Stone Recordings!

It’s been nearly sixteen years since Salt Lake City’s IOTA carved a place for themselves in the heavy underground with their debut album, Tales. Released by Small Stone Recordings, it was recorded by drummer Andy Patterson (The Otolith, ex-SubRosa), with founding guitarist/vocalist Joey Toscano (who’d form Dwellers later), and bassist Oz Inglorious (ex-Bird Eater, Suffocater) and drew heavy rock impulses across space in a way that was innovative and engrossing. Marked by the twenty-minute “Dimensional Orbiter” that was the first song the band ever wrote, it showed huge potential for IOTA, who moved onto other outfits while the cult of those in the know steadily grew.

Pentasomnia, an album of five dreams, marks a return for a project begun by Toscano circa 2001, a band that has been intermittently lived with, shelved, pushed, pulled, stretched, and twisted, but whose sound shimmers with atmosphere and the resonant, bluesy emotionalism of Toscano’s vocals. Rather than some slapdash decade-and-a-half-later follow-up to a record on its way to being a niche-classic, Pentasomnia is cohesive, and as much an unexpected step forward as an unexpected return. IOTA — Toscano, Inglorious, and Patterson — revel in the groove and sway of these five songs, from the boozy head-hang of opener “The Intruder” into the ambient push of “The Returner,” which feels like a manifestation of the meld between cosmic and desert rock that was so much the heart of the band during their first run; the very essence of what they do, given new life and perspective.

“Pentasomnia is an amalgamation,” says Toscano, “roughly translating to ‘five dreams.’ Each song is told from the perspective of a different mental state. Challenging the ideas of traditional norms about identity and our place within the world; questioning the very idea of a self. A cathartic acknowledgement of our infinitesimally small place in a vast musical landscape. Live shows will unveil the album’s essence, offering glimpses into our musical journey’s dark comedy and complexity. Enjoy these songs as snapshots of a fever dream.”

IOTA’s sophomore full-length was written and recorded live over a series of sessions between 2018 and 2019 and completed in the tumultuous years after with family health emergencies, other projects and recordings, the pandemic, work, and all the stuff of life happening all at once. And yet somehow, in and perhaps from all of that, the three-piece have managed to come back together, find each other and renew their sound, and to let the intervening time underscore how crucial their collaboration genuinely is. There are going to be a lot of heavy rock records released in 2024. You sleep on IOTA at your own risk.

In advance of the release, today the band debuts first single, “The Returner.” Toscano further notes, “Pentasomnia, is centered around dreams. With each song narrating a first-person account of an acute mind state, ‘The Returner’ — the album’s third track — attempts to describe the character’s experience of waking from the dream of life, encountering their now unrestrained hallucinations in the in-between, and then returning to yet another dream. Interpretation, divine.”

Stream IOTA’s “The Returner” at THIS LOCATION.

Pentasomnia will be released on CD, LP, and limited-edition vinyl. Find preorders at the Small Stone Bandamp page HERE: https://smallstone.bandcamp.com/album/pentasomnia

Pentasomnia Track Listing:
1. The Intruder
2. The Witness
3. The Returner
4. The Timekeeper
5. The Great Dissolver

IOTA:
Joey Toscano – guitars, synths, vocals
Oz Inglorious – bass
Andy Patterson – drums

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https://www.instagram.com/iotaslc
https://www.iotaslc.com

https://www.facebook.com/smallstonerecords
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https://smallstone.bandcamp.com/
https://smallstone.com

Iota, Pentasomnia (2024)

Iota, Tales (2008)

Boston progressive melodic heavy rockers Sundrifter go big on their third full-length, An Earlier Time, set for release Feb. 16 on Small Stone Records. From the triumphal chugs and declarative rhythm of opener “Limitless” (premiering below), the album will make you believe music and just about anything else you want can fly, the band’s songs honing character through atmospheric riffing, and the theatrical, unafraid-to-reach vocals of Craig Peura.

The follow-up to 2018’s Visitations (review here) shares its predecessor’s penchant for minimalism in its closer, as An Earlier Time departs the willful grandiosities of “Limitless” or “Prehistoric Liftoff” — one is reminded of Torche‘s “Tarpit Carnivore” — or the escape-velocity charge of “Space Exploration,” the “Way out here is where I belong” lyrical perspective of which is consistent with the breaking-out of “Not Coming Back” from their 2016 debut of the same name or “I Want to Leave” from Visitations, for the relatively subdued open space of “Last Transmission” at the finish. But to get there, Peura, bassist Paul Gaughran and drummer Patrick Queenan careen and lumber through material that takes the tonal largesse of bong metal and puts it to an emotive purpose all the more affirming for the heft behind it.

Sundrifter‘s sound has blossomed, which is not to say Big Bang’ed. But ‘big’ should be an operative word here if its place in the first sentence wasn’t enough of a clue, and as heavy as Peura‘s guitar and Gaughran‘s bass might be, the distance perceived between them and the echoing of Queenan‘s drums is essential in crafting the open feel that makes “Limitless” such a powerful preface to what follows on An Earlier Time, whether it’s the reverb-cavern roll of “Nuclear Sacrifice” or the emotional charge given to side B across “Begin Again,” “Want You Home” and the penultimate “Final Chance,” the latter of which ends with drawn-out crashes to give a smoother transition to “Last Transmission.” Informed in part by the sweeping pop of Muse, and more spread out in sound than Forming the Void but with a modern-prog-heavy patience to their execution, Sundrifter manifest style in service to songwriting, and their material carries vitality in performance as well as its effects-born sprawl.

What’s perhaps most admirable about Sundrifter circa An Earlier Time, aka now, is that as much as “Limitless” or “Final Chance” or “Want You Home” seem to reach out, the band are never out of control. To be sure, Peura is a soulful vocalist and part of that is the push of his delivery, but the band never leaves their comfort zone without making sure their audience is along for the ride, and the six years since their last album has obviously given them time to focus on their craft. Not overthought, these songs find a hard balance between their emotive crux and expansive sound, and Sundrifter come through as vibrant, sincere and uplifting without the saccharine toxicity of 2020s internet platitudes; all heart (plus songwriting, plus aesthetic, etc.) at a moment where that could hardly be more necessary.

Sundrifter, “Limitless” video premiere

Craig Peura on “Limitless”:

‘Limitless’ is about knowing in your heart where you belong and not being afraid to jump from the highest point to find it.

Paul Gaughran on “Limitless”:

I recall this tune being the first to gain serious form during the writing for “An Earlier Time”. The style and feel of the initial riff that Craig presented us was a combination of all my favorite aspects of the previous record, but from an instrumental perspective also gave more room to work with and be creative within. The song starts from a very grounded, almost tribal sounding straight-forward arrangement and by the end is so densely orchestrated and spacial. It closes sounding elevated, even heavenly. Sort of an attempt to convey an earth-to-sky experience I suppose. I think it sets the tone for the record well.

Patrick Queenan on “Limitless”:

“Returning to Futura Studios to track drums with our engineer Dan is always a no brainer. The former masonic temple converted recording studio provides not only the best expansive space to track epic sounding drums in but on a metaphysical level provides a certain energy or vibe to the recording process. Drums being the first tracks to be recorded followed by a global shut down in 2020 this video along with the record “An Earlier Time” serve as a real time capsule. Over the past four years a lot has changed for us individually and as a group but now here in 2024 we are feeling quite LIMITLESS.”

An Earlier Time will be released on CD, limited edition LP, and digitally. Find preorders at the official Small Stone Recordings Bandcamp page HERE: https://smallstone.bandcamp.com/album/an-earlier-time

An Earlier Time Track Listing:
1. Limitless
2. Space Exploration
3. Nuclear Sacrifice
4. Prehistoric Liftoff
5. Begin Again
6. Want You Home
7. Final Chance
8. Last Transmission

SUNDRIFTER Live:
2/01/2023 Widowmaker Brewery – Braintree, MA w/ Swamphead, Bone Church, Earthlore</span

Sundrifter are:
Craig Peura – vocals, guitar
Paul Gaughran – bass
Patrick Queenan – drums

Sundrifter website

Sundrifter on Facebook

Sundrifter on Instagram

Small Stone Records website

Small Stone Records on Facebook

Small Stone Records on Instagram

Small Stone Records on Bandcamp

In March, Iota will release their second album. If that doesn’t ring like an event to you, take about an hour of your life, go back and listen to their 2008 debut, Tales (discussed here and here). It’s at the bottom of this post. You don’t have to go far.

The three-piece of founding guitarist/vocalist Joey Toscano, who’d go on to found Dwellers after Iota and put out two records on Small Stone with that project, bassist Oz Yasri (who joined Bird Eater after) and drummer/producer Andy Patterson (SubRosa, The Otolith, Insect Ark for a minute there, tons of others) will officially announce the release of their sophomore full-length, Pentasomnia, next week. It’ll be the full usual deal — artwork, track premiere, album details, a bio I wrote and all that. I don’t think I’m doing the premiere, but it’ll be somewhere on the internet and for sure I’ll post about it too. Next week.

But I was asked to do the bio for the record, and since I dig this band a lot, still dig Tales and its newcomer counterpart, I asked if I could take the bio I wrote — that’s below — and use it as kind of a soft-launch announcement for the record to come. So yes, look for all that other stuff next week. But now you already know that’s coming, and way to be ahead of the game.

Here’s that bio, with more to follow next week with the official announcement:

It’s been nearly 16 years since Salt Lake City’s Iota carved a place for themselves in the heavy underground with their debut album, Tales. Released by Small Stone Records, recorded by drummer Andy Patterson (The Otolith, ex-SubRosa, etc.), with founding guitarist/vocalist Joey Toscano (who’d form Dwellers after) and bassist Oz Yasri (later of Bird Eater) drawing heavy rock impulses across space in a way that was innovative and engrossing. Marked by the 20-minute “Dimensional Orbiter” that was the first song the band ever wrote, it showed huge potential for Iota, who moved onto other outfits while the cult of those in the know steadily grew.

Pentasomnia, an album of five dreams, marks a return for a project begun by Toscano circa 2001, a band that has been intermittently lived with, shelved, pushed, pulled, stretched and twisted, but whose sound shimmers with atmosphere and the resonant, bluesy emotionalism of Toscano’s vocals. Rather than some slapdash decade-and-a-half-later follow-up to a record on its way to being a niche-classic, Pentasomnia is cohesive, and as much an unexpected step forward as an unexpected return. Iota — Toscano, Yasri, Patterson — revel in the groove and sway of these five songs, from the boozy head-hang of opener “The Intruder” into the ambient push of “The Returner,” which feels like a manifestation of the meld between cosmic and desert rocks that was so much the heart of the band during their first run; the very essence of what they do, given new life and perspective.

“Pentasomnia is an amalgamation,” says Toscano, “roughly translating to ‘five dreams’. Each song is told from the perspective of a different mental state. Challenging the ideas of traditional norms about identity and our place within the world; questioning the very idea of a self. A cathartic acknowledgement of our infinitesimally small place in a vast musical landscape. Live shows will unveil the album’s essence, offering glimpses into our musical journey’s dark comedy and complexity. Enjoy these songs as snapshots of a fever dream.”

Iota’s awaited sophomore full-length was written and recorded live over a series of sessions between 2018 and 2019 and completed in the tumultuous years after, family health emergencies, other projects and recordings, the odd pandemic, work, all the stuff of life happening all at once as ever. And somehow, in and perhaps from all of that, the three-piece have managed to come back together, find each other and renew their sound, and to let the intervening time underscore how crucial their collaboration genuinely is. There are going to be a lot of heavy rock records released in 2024. You sleep on Iota at your own risk.

https://smallstone.com
https://www.facebook.com/smallstonerecords
https://www.instagram.com/smallstonerecords

Iota, Tales (2008)

Big sound here from Sundrifter, whose An Earlier Time is deceptively forward-thinking considering the nostalgic evocations of the title. The Boston trio, who you”ll recall were sharing drummer Patrick Queenan with Gozu for a bit there, will issue An Earlier Time through Small Stone Records on Feb. 16, which feels like it’s coming up quick at this point but that’s life in January. It was the band’s 2018 outing, Visitations (review here), that caught the ears of the long-running Detroit imprint, leading to a months-after-the-DIY-release reissue — I seem to recall something similar happened with Lo-Pan in the long, long ago; it’s not unheard of — and An Earlier Time broadens the sound of that record exponentially, harnessing grander spaces, dynamic changes and an abidingly cosmic feel to even its most driving moments, and yes, I’m looking right at you, “Space Exploration.”

That song is one of eight on the record, and like many of them, it could’ve been the lead single just as easily as “Begin Again,” but the initial push, roll and soul there can’t be denied. Available to stream on the player at the bottom of the post, An Earlier Time‘s first public snippet is telling in the overarching largesse that unites the material across the record, but has an impact in its middle stretch that is its own, fleshed out by Craig Puera‘s melodic vocals holding out notes into an echoing expanse.

I firmly believe it’s not a thing you’ll regret hearing. So, by all means, go for it:

SUNDRIFTER: Boston-Based Desert Rock Trio To Release An Earlier Time Full-Length February 16th Via Small Stone Recordings; New Track Streaming + Preorders Available

Boston-based desert rock trio SUNDRIFTER will release their long-awaited new full-length, An Earlier Time, on February 16th via Small Stone Recordings, today unveiling the album’s cover art, track listing, and first single.

SUNDRIFTER’s sound is bigger and broader on An Earlier Time. From the appropriate beginning of “Limitless” onward, the New England three-piece answers the potential of their 2019 sophomore album, Visitations, and their 2016 debut, Not Coming Back, with a collection that is likewise huge and intimate, bringing together expansive atmospheres a la Hum’s heavy post-rock vision with Soundgarden’s unmitigated heavy revelry and melodic command and the contemplative expressivism of Radiohead. The offering features eight songs, each one of them a world to get lost in.

With the returning trio of guitarist/vocalist Craig Peura, bassist Paul Gaughran, and drummer Patrick Queenan, SUNDRIFTER calls to mind the expansive atmospheric heavy rock of outfits like Forming The Void or Small Stone veterans Abrahma, but Peura’s vocals cull influence from ’90s alt rock in a way that emphasizes the individual now more than ever. The band’s third album realizations come complemented by the return of producer/mixer Dan Schwartz, mastering by Chris Goosman, and cover art by Branca Studio, furthering the “complete package” sensibility fostered in no small part by the weighted complexity and breadth of the tracks themselves. It’s not so much heavy rock as is, but as it could be.

In advance of the official release of An Earlier Time, today the band reveals the record’s first single, “Begin Again.” With Peura elaborating, “‘Begin Again’ is a constant battle to overcome negative self-talk and the pain that it can bring telling you of your failures, and the excitement that comes when you decide to acknowledge them and begin again.”

“I’d say the name says everything,” Gaughran continues. “It’s a statement of intention from the band. It’s taken far longer than we’d have liked to make this record, but time has its upsides. I’d like to think we’ve used it to hone in on a sound that better reflects our collective influences as a band, both musical and non-musical. ‘Begin Again’ tonally evokes all those influences, whether it be space and the desert or any of the spiritual concepts expressed lyrically, all while retaining the signature characteristics of our brand of heavy psychedelic rock.”

Queenan adds, “As the ancients had to rebuild humanity and societies after cataclysmic events so are we emerging from the ash and beginning yet again.”

An Earlier Time will be released on CD, limited edition LP, and digitally. Find preorders at the official Small Stone Recordings Bandcamp page HERE: https://smallstone.bandcamp.com/album/an-earlier-time

An Earlier Time Track Listing:
1. Limitless
2. Space Exploration
3. Nuclear Sacrifice
4. Prehistoric Liftoff
5. Begin Again
6. Want You Home
7. Final Chance
8. Last Transmission

SUNDRIFTER Live:
2/01/2023 Widowmaker Brewery – Braintree, MA w/ Swamphead, Bone Church, Earthlore

SUNDRIFTER:
Craig Peura – vocals, guitar
Paul Gaughran – bass
Patrick Queenan – drums

https://sundrifterband.com
https://www.facebook.com/sundriftermusic
https://www.instagram.com/sundrifterbc

https://smallstone.com
https://www.facebook.com/smallstonerecords
https://www.instagram.com/smallstonerecords

Sundrifter, An Earlier Time (2024)