DYING VICTIMS PRODUCTIONS is proud to present TOXIKULL’s highly anticipated third album, “Under the Southern Light”, on CD and vinyl LP formats.

Born and raised under the hot & blinding southern light of Portugal’s capital Lisbon, TOXIKULL took off in 2016 and have backed down since: a tumult from the Atlantic, rising to take the world by storm. With two full-lengths, an EP, and a collection of singles, full of incredible guests from bands such as Skull Fist and Crystal Viper under their belts, TOXIKULL’s taunting, fearless attitude has conquered the European heavy metal underground. Now, after speed metal-intensive “Cursed and Punished” in 2019), they now shift gears with Under the Southern Light, presenting a more mature, melodic, yet thankfully still-rough version of themselves.

Line-up:
Lex Thunder – Lead Vocals, Guitar
Michael Blade – Lead Guitar
Antim The Viking – Bass, Back Vocals
Tommy 666 – Drums

REVIEW: The authors of the album, subject of the exploration to follow, originate from the west end of Iberic peninsula, to an extend geographically isolated, however notably ingrained in the fabric of European heavy scene. Maybe not many names come to mind and it’s not the quantity that counts here, but in case of Portugal, less often means more, concentrating bigger deposits of musical mastery into selected shining stars to make to worldwide constellation of linchpin bands. Trad metal makes no exception, and we can hardly encounter a better specimen of the trend than Lisbon all-favorite TOXIKULL, a quartet with remarkable trace left on the Heavy/Speed landscape for almost a decade. Under the energetic leadership of their emblematic frontman Lex Thunder, the gang is relentlessly conquering stage after stage, not leaving behind the vital recording process – the essence and fuel of every creative musician. Successfully passing the sophomore album Rubicon, steadily steaming ahead, TOXIKULL are blazing trail with “Under the Southern Light” and by far they are on the right path to follow.

Knocking on the front gate is “Night Shadows”, an energetic piledriver to start with a hectic outcry and plunge us in the heart of the action. The riffage is punching in the guts, masterfully supported by the rhythmic drumming and echoing vox work. Melody does not suffer from this outburst of true passion, on the contrary, has its notable place in certain passages. Same goes for the lead guitar, peaking at short, striking solos to complement the overall delivery of the song that ends in a classical fadeaway style. Worth outlining the overall richness of expression here, something not very typical for straightforward openers, where the bands seek to maximize the strike of first impression, while TOXIKULL apply for something way more comprehensive to follow along. Out of the shadows, “Around The World” journey awaits us, one that changes the musical direction of its predecessor, involving more classic metal stylistics, typical for the heavy power scene of the times when it crossed over from the glorious 80-ties to the challenging 90-ties. When hearing the first minute or so, a vision appeared in my mind, that involves overdose of nostalgy and a fantasy element, picturing this tune as part of the MTV rotation of the era, next to many other heroes of the day. Certain glamish flamboyance surfaces here, while the vocal delivery preserves the hard-rock roughness, choir support in the chorus provides inspiring togetherness and chanting along the title cannot be more traditional way to concentrate attention. Two tracks deep into the release, Lex Thunder shows two different faces of his singing capabilities, covering a remarkable diapason, kind of a diminishing trait for a number of present-day artists. And hats done to the guitar solo starting somewhere halfway through, being spot on, building the vibe towards the closing verse.

Title track time and after the ample warm-up, on number three “Under The Southern Light” is flashing with commanding slow-paced intro, taking us on the epic tracks of a power-ballad vehicle, graduating with emotions and grandeur. The sound is solid as a concrete wall, starting a bit on the low end of the scale when it comes to briskness, persistently pumping   grandiloquent momentum, escalating to a peak around the third minute and seamlessly transforming the song into a positive message to the world. Love the way this transition is being executed, fluidly and lacking rampant breaks, topping the end with an embellishing acoustic outro. Shortly after the guys from Lisbon let the dogs out in “Battle Dogs”, a track that strongly feels like a sequel of “Under The Southern Light”, refurbishing that already familiar dense posture of a tune into particularly combatant musical narrative, bolstered up by evenly bold lyrics. The atmospheric intro, dominated by overdriven guitars introduces a mid-paced main riff, where the band’s axe-man takes things in his capable hands to output almost thrashy aggregate. Solo guitar fights back, leaving no quarter  for most of the duration, gracefully aligning with the husky singalongs. Being a minute shorter than its predecessor, this hymn epilogues kind of too soon with march right into glory and some cheerful whistling.

The album is cut halfway through by a “Ritual Blade”, taking us back on the fast line of galloping guitars, battering drums and more clear high-pitched vocals. By far that’s the song that falls best in the “speed metal” category, (an honest rivalry with the opener too) showing more simplistic construct and sticking to the tried and tested formula of this sub-genre. Following the basics is not a bad thing and definitely adds to the palette of the record, making it easy to swallow, memorize and identify with. Not shining with some special characteristics, maybe apart from the intermediate guitar solo, this track instills some thrilling sense of imminent danger and arouses the senses in an attractively provocative manner.  Consequentially, out of the distant obscurity, a “Ghost Of A Dream” tiptoes its way in, floating around the delicate notes of this gently arpeggio acoustic instrumental piece, gracefully amplified by few tempos of keyboards and electric guitar intervention. A proper mood pacifier and spiritual reset.

“Knights Of Leather” champion the metal cause in track #7, kicking in with heavy marching style intro, followed by the opening verse, massively supported by a mighty bass line and some serious shredding guitars. Vocal momentum is built layer by layer, adding more presence and power to the tone, naturally reaching burning point in the chorus, following certain specimen of some of the best german mid-nineties microphone masters, close to GRAVE DIGGER style of delivery. Right in the middle, we experience an abrupt alteration towards a more mild and serene interlude, filled with distant chants and extended guitar solo, that strangely shows distant motif resemblance with “Ghost Of A Dream”. Reaching the end, a short declamation heralds the final praise for the valiant heroes in leather, resolving it all with a balladic culmination. “Going Back Home” offers us way more lively welcome and diametrically opposed vibe of composition. Catchy and sticky, rock-and-roll-oriented arrangement, full of joy and party frame, carrying that overwhelming enthusiasm the glam pundits of the mid-eighties use to spread around the radio stations across the USA. A straight-out earworm, capable to consolidate around the stereo any bunch of beer-drinking, headshaking and dance-along jamboree lovers, to keep on rocking from dusk till dawn. TOXIKULL don’t leave a chance for boredom or any down-hearted moment, injecting overdose of happy metal into our veins, cranking up the volume of gratification. Personally, I am adding this one to my car trip collection and that bass play in the bridge of the song is simply to die for!

Moving closer to the final, “They Are Falling” makes way with a speedy headlong opening, beautifully structured around a clockwork precise rhythm section and notably higher pitched singing style. Around the one-minute mark, encaptivating excitement fills my receptors, stimulated by something that could easily belong to an IRON SAVOIR or FREEDOM CALL release, which I admit is a definite sweet spot for me. The power-progressive stylistics don’t end up here and push forward, for the entire duration of the track, leaving no doubt about the influences that the Portuguese quartet has been under. Even the erupting guitar solo, conquering the second part to invite a slower, sing-along ending, adds exquisite diversity to level up to the rest of the refined orchestration. Closing the album, TOXIKULL kind of break the language pattern with “Filhos Do Metal” (Sons Of Metal), paying homage to both their native language and the entire headbanging brotherhood as a whole. In little over 4 minutes, the boys define what is maybe the most old-school sounding banger, which coming under number #10 would be an obvious 10 out of 10 for any young heavy formation that is a about to breakthrough the global scene. The Lisbon gang are no newcomers on the metal map and my intent is not to patronize them, but to highlight how fresh spirit and adolescent endurance they preserved on the back of long-term artistic experience.

CONCLUSION: For any longstanding, diehard TOXIKULL fan, the essence of their multifaceted album creation approach may be expected and default occurrence. Not for me and this is what stands out as first, immediate impression, now that the final chords of “Under the Southern Light” are just an echo in my mind. Not being hyper-concentrated in specific direction, sound or tempo is often regarded as a downside, however, is not the case we have here. Exploring various styles, incorporating a metal legacy coming from several decades across and yet keeping it all together tied with a genuine creative thread, is what that makes this record unique and worth placing it in your collection. Another formidable album attribute is the balanced contribution of each band member and his instrument of choice in the overall output.  By far several of the songs are viable candidates for definite live performance smash-hits, while the active touring schedule of the band is kind of promise, that the day to verify this thesis won’t be so far in the future.

TheNWOTHM Score: 8,5 / 10

Release date:
February 23rd, 2024

Release info:
– Regular edition on black vinyl, with insert, poster, sticker, postcard and download code.
– Special edition on grimace purple vinyl, with insert, poster, sticker, postcard download code and patch.
– CD edition with sticker, obi

Pre-order:
www.dyingvictims.com
https://dyingvictimsproductions.bandcamp.com/