Swedish old-school Death Metal act Toxaemia have been around since the early ’90s. But in those early years, they only released a couple of demos, a split CD and an EP, before going on hiatus. They made a monumental comeback in 2020 with their first full-length, Where Paths Divide, and determined to not only keep that momentum flowing but also up their game further. We now have Rejected Souls Of Kerberus. A blistering, exhilarating, and brutally engaging listen, this is exactly what I want from Death Metal.
Toxaemia – Rejected Souls Of Kerberus (Emanzipation Productions)
Release Date: 15 November 2024
Words: Jools Green
Toxaemia have added a modern element to the sound for this release, giving that heavier edge compared to the predecessor. But there is still plenty of old-school content in there. There is also an unmistakably Swedish Death Metal feel, so long-term fans will not be disappointed, and it should appeal to an even broader range of Death Metal fans.
Rejected Souls Of Kerberus sees the return of founding member drummer Emil Norrman, bolstering that classic Toxaemia sound in an eleven-track offering that spans forty-two minutes, featuring eight new songs and two reworkings drawn from their early material.
The theme of reworkings carries on from their previous album, which featured Hate Within and Buried To Rot from their ’91 cassette demo Buried To Rot.
Rejected Souls Of Kerberus marks a first for a Toxaemia album in the form of a cover. More about that later.
The album opens with the title track, Rejected Souls Of Kerberus, and it’s a driving beast from the offset. An intense wall of riffing, pummelling drum work and thunderous vocal growls assault your senses. But there is also an undulating, engaging element to the sound that draws you in, made all the more interesting by the smoothly implemented direction shifts.
The next piece, M.A.O.D. again has that predominantly unrelenting drive delivered at speed. This is also an engaging piece that sweeps you along in the unstoppable wake of its ebbing and building wall of riffs. Just after midway, you get a sublime swathe of leadwork, which really lifts the track, with the pace dropping to a slower chug, showcasing the superb vocal growls.
Delivering an engaging old-school drive at its core, Hunger crushes with menacing intent. Some great riffs are worked in to add interest, and again, there is an ear-catching blast of lead work before the crushing drive and face-searing vocal growls resume.
The next piece, Beyond The Realm, from the ’91 EP of the same name, is the first of the two reworked tracks. While the original still makes a good listen, this version takes it to the next level. Obviously, the recording and production quality is better thirty-three years later. Although it follows true to the original, every aspect has been carefully worked and improved upon, so there is a much richer depth and complexity to the sound, making it an all-encompassing, brutally crushing and superb listen.
The next piece, Ex Odio, has a slow, doomy and ominous opening and continues as a crushing, crawling beast of a track with snarling protracted vocals, dramatic bursts of riffing and midway leadwork that can only be described as “sexy!!” A hugely impactful piece.
Changing the mood again, the next piece, Blood Red, is initially a maniacally fast piece that gallops along. It is a hugely engaging and exhilarating listen with head-spinning direction switches that are slickly executed. When the pace ebbs back after midway, the soaring, squealing lead work moves in and dominates.
I love the atmosphere created by the guitar work on Dawn Of The Enslaved. It is hugely uplifting, almost epic and anthemic, in turn beautifully balanced by the harsh vocal delivery, making sure the track is also a crushing brute. This is a piece that will undoubtedly be a hugely popular live.
Temple Of Venom has an absolutely fascinating construct, the pace and direction switching constantly and fluidly. Sometimes crawling with sinister intent, other times delivering an impactful punch, it harbours an eerie and sinister undercurrent which surfaces with the lead work. The pace steadily builds as the track progresses, which in turn builds on the atmosphere.
Sinister and packing a punch, Follow The Leader is another full-on assault of the senses with some of the catchiest riffs you could wish to hear. The midpoint leadwork is straightforward but still makes a statement.
The second reworking is Tragedies Through Centuries, originally from their ’91 cassette demo Buried To Rot, which again benefits from better production. Another brutally good track that is worth a revisit and injected with a good dose of brutality. I do love this version and Dennis Johansson’s vocals are excellent both here and across the whole album, but I do also rather like the slightly snarlier vocal delivery of the original.
As a bonus point, this new version offers a superb swath of midpoint leadwork, giving us a second excellent version of a great track, so it’s a winner for me.
Finally, we get to that cover mentioned at the beginning of the review and it’s of Dismember’s I Saw Them Die, from their legendary ’95 release Massive Killing Capacity. This is a brutally superb version. The original is a great track, and sound-wise, it suits Toxaemia’s style perfectly. But they have added their own very brutally crushing flair to the track, making it sound current and killer.
The mixing and mastering once again is courtesy of Dan Swanö, and the eye-catchingly beastly artwork is by the guitarist from Creeping Flesh, William Persson Öberg (Obscenum Art).
Rejected Souls Of Kerberus definitely hits the spot for me. It is an exhilarating and engaging listen. The quality of composition and musicianship is first-rate.
It will be released on CD, LP (black and transparent red vinyl versions available, each limited to 200 copies) and digital via Emanzipation Productions and Bandcamp.
