TTTDC / Sons of the Ionian Sea - TTTDSEA

 

 

TTTDC / Sons of the Ionian Sea - TTTDSEA
Tuff Cuff Records, 2025
Classic Rock, Stoner
Rated: ****3/4

Usually I'm not a big fan of split albums. There are a few reasons for that, which are often applicable at the same time, albeit in different gradations and different amounts of overlap. Reason 1: the quality is inconsistent due to one of the two artist being (way) better than the other. Reason 2: there's a lack of coherency in the music, which makes it more difficult to listen to in one go. Reason 3: the production most of the time differs too much - they don't have to be by the same producer and neither do they have to be recorded in the same studio, but a similar overall feel would be nice. Therefore I mostly prefer separate ep's instead of one split, even though I'm well aware of the fact that it can be financially more appealing to bands to sometimes join forces and split the costs needed to produce physical copies of their music.

Anyway, to cut a long story short: splits are often disappointing, but there are exceptions to the rule. Is 'TTTDSEA', featuring two Australian bands called TTTDC and Sons of the Ionian Sea one of those or does it (like many before) fall through the cracks? They've got one huge advantage to start: both bands derive from Peeping Tom - the best band ever to emerge from the Australian stoner rock scene. Their two albums ('Peeping Tom' and 'Music Swop Shop') are downright classics. In Sons of the Ionian Sea we find 3/4 of Peeping Tom: singer/guitarist Gerasimos Gramennos, bassist Josh Waddel and singer/drummer Cameron Cairnes, with Gerasimos' brother Nick added on vocals and guitar, while in TTTDC Cairnes is being replaced by Paddy Warner on vocals and drums.

Now back to the 'TTTDSEA' split. TTTDC is up first and bursts out the gates with the heavy, blues-tinged stoner track 'Daredevil'. It's obvious where this is heading; to a world where the Australian swamps - crocodiles lurking below the surface, eyes popping out just above the water, waiting for the perfect moment to snap your head off - are standing in front of the wedding altar with the outstretched desert that occupies about 75% of the country. The other three tracks follow suit, with the instrumental 'Spiderwebs' being especially menacing with its crushing groove and relentless energy, while closer 'Still Comin' Down' draws inspiration from heavy psych and classic rock of the late sixties and early seventies. It starts with a modest melody and build and builds, using great lead guitar work and lots of dynamics to lead the way on this unexpected sonic travelogue through the raw and unspoilt wilderness that is the heavy underground music they produce. Coming down you said? It's more like being raised on the hands of a giant, overlooking skyscrapers while drowning yourself in the beauty that surrounds you. And if that isn't enough, they also found the time to throw in a splendid cover of Pentagram's 'Forever My Queen' that surpasses the original not only by a country mile, but by the total length of the sand trail you get when you take every individual grain from the Australian desert and place them neatly in a row.

Sons of the Ionian Sea's contribution to this split is even more mind-blowing. They have only released one full length and that was way back in 2012, while TTTDC has been releasing new music regularly since then, with three albums to their name between 2012 and 2022. And that one album by Sons of the Ionian Sea wasn't exactly what you call a banger (far from it to be honest). So hearing these three new songs is a huge surprise. The tracks are longer than the ones from TTTDC and rhythmically much more complex. Unexpected twists and turns galore with drummer Cairnes taking things home with power and gusto, using his kit almost as a solo instrument - kinda like Keith Ackerman did on the first The Atomic Bitchwax album. With this

kind of frantic drum work, you need the bass to be steady and reliable; some kind of power glue that keeps everything in place and prevents this road truck from ending up in a ditch at the side of the road in the middle of nowhere. And yes, the power glue is there in full adhesive glory, while the guitars soar in all directions and the versatile vocals are looking to add an extra layer of depth. The perfect example of how everything comes together is the nine and a half minute 'Livin' in the City'. It starts with some acoustic guitar that produces a sitar-like sound, but also incorporates some mouth harp and combines traditional, blues-tinged classic rock with progressive stoner while throwing in curveball after curveball without ever losing its natural feel and swagger. Before you know it ten minutes have past (because you're gasping for breath for a while after that final song is finished). But the other two songs are excellent too, brought with a quality and intensity that their debut album lacked. It makes you wonder if this was a one-off get together for Sons of the Ionian Sea or if they will deliver more new music down the line.

I hope the latter, because both bands differ enough to co-exist alongside one another. On the other hand there is enough common ground (call it the soul of Peeping Tom as you will) to place them on one not only interesting and coherent record, but the best split album I've ever heard.

(Written by Ronny Dijksterhuis)

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