Toxic Tito - Bestia
Toxic Tito is a New York City Punk/Rock project coming for your head. The band says: "Nothing here is copied in any way from any other band; it was all straight from the mindset that there is no influence, except for our technical abilities." They seek to exorcise the demons from the human race, sell a shitload of albums, and get on a Scorsese movie. This is a band of consummate professionals sharing an anarchistic 'devil may care' attitude. There are no expectations, only the desire to document what was once a good boy.
Fast forward to today, Toxic Tito has released a new album, entitled "Bestia," a vicious and ambitious record building off of the insanity of quarantine. Drawing on everything from ancient problems to the joy of summer's arrival, it is a bloodthirsty offering from the band. If you want to get slammed into a punk-infused rager... have we got the band for you!
Check out the album, Bestia, click here!
Follow them on Instagram: @toxictitonyc
Stay tuned for more: toxictito.bandcamp.com
#1 Got to Move On (3:21)
The initial track of Bestia, Got to Move on, starts with a powerful and energetic guitar riff. The moving guitar riff is then accompanied by the growly vocals and a bright bassline. The intro definitely gets the listeners' headbanging! On the 41 second mark, the vocals shout "Yeah!" and we move on to the chorus. The chorus lyrics go: "She's sitting home alone / You got me quarantined", which the listener can very easily empathize with during the pandemic. The bright guitars, the fast-paced drums, and the vocals radiate somewhat of a motivating feeling.
Moreover, the backup vocals further immerse the listener with the energetic nature of this song. At the 2 minute and 15-second mark, one of the greatest parts of the song begins. A guitar solo enters, which just as energetic as the song and takes on the spotlight. The solo leads us to the last chorus. The song ends powerfully with consecutive drum fills and the moving guitar riff.
#2 Trapped in an Alleyway (3:31)
The second track of the album, Trapped in an Alleyway does not disappoint after Got to Move on. The song starts with an ascending and descending guitar riff and a simple drum pattern, which grabs the listeners' attention. With a drum fill, we are introduced to a funky guitar riff and a moving bass line. The funky section suddenly evolves into a hard rock section with shouting vocals. The chorus describes getting trapped in an alleyway, as the title suggests, and trying to find a way out of the place. After the second chorus, the intro riff returns, but with an atmospheric solo guitar on top of it, which creates a great bridge to the last part.
Trapped in an Alleyway is a great song that combined old rock elements while adding some spice to it. The song builds on the idea of being stuck or "quarantined" that was introduced in the initial song of the album.
#3 Flip Side (2:47)
The third track, Flip Side, brings the listener straight to the action with an ascending and energetic bassline. The first verse introduces a character who wants and needs everything, which may be a reference to the consumerism culture that surrounds us. Then, we move on to the chorus where the lyrics go: "Wake up and feel what it means to be alone / Wake up and see what it 's like to live alone / And each time it hurts you more and more". These lines might be interpreted as the loneliness of the individual who wanted everything to get worse. Then, the guitars go back to the main riff, which leads the listener to the second verse: "You were the talk of the town / Then you stumbled, came crashing down". These lines could be interpreted as the person who was the center of attention now being alone and feeling like they hit bottom. After the third verse, the song gets calmer as if the singer is somewhat feeling sorry for the person. After that, the song picks up the energy with a solo guitar accompanying the melody. The song ends suddenly and powerfully with a crash.
Flip Side is a song that evokes bittersweet emotions while maintaining the punk rock feel. It is a dynamic song, which makes it more enjoyable.
#4 Whoopee (2:52)
As the 4th track on the album, Whoopee serves as a transition song. It is very energized, just like any other song in the album. It has an electric feel with the beat of the drum and the distorted metallic guitar. However, there is also great bass work in Whoopee. With the immature yet lively "Na na na"s in the chorus comes a titivating bass. Bass work is prominently seen in other tracks as well with Toxic Tito's punk rock vibe.
The song also gives punk an extraordinary voice with "hey ho"s and overall rougher vocals. With clear punk rock influences from bands like "Ramones" and "White Stripes," there is always a rebel feeling. It is also reflected in the lyrics where vocals scream " I don't care," a fair and clear "no" the rules presented. Overall, it is an excellent track for those of us who want to headbang to the very end.
#5 The Big'ne (3:19)
The song itself calls for chaos as it begins with a curse, a reaction to a certain situation. The lyrics describe it as "the it". Since it calls for an "ending", it is possible to claim that "The Big'ne" in fact means the big end. Just like in Whoopee, screams and shouts are present in the track. With this theme of "running away" and "the big end" the fifth track of the album carries the same disturbed, rebel feeling.
Sometimes the song calms down for the vocalist to speak to the audience. The constant change in mood and energy develops a chaotic essence. The sixth track is a perfect complementary track to the ones before and after.
#6 Jolene (3:16)
Bestia's 6th track begins with exquisite drum work that goes wonderfully and compliments the essential distortion with the guitar. As the song progresses, the guitar shows great value in the track with a guitar solo. The song leads up to that solo with consistency on guitar but certain changes with the drums. Both instruments carry the song together. It is safe to say that the bass is not as prominent in this song as it is in "Whoopee".
With its title track, the song makes us wonder if this could be a reference to Dolly Parton's Jolene. Whatever it may be, there is a theme taking to someone, that may be the Jolene in the song or any other person reflected through the "Jolene" of the song. Either way, Toxic Tito manages to contain the energy of the album with their track Jolene as well.
#7 Blasty (4:12)
The seventh track of the album Blasty begins with a much more Megadeth kind of feel with the vocals and the scratchy guitar chords. Like any other song in the album, the distortion is very significant and it plays a great role for Bestia to achieve its punk rock value.
Around the middle of the track, there is this accelerating force on the track and then it pops with a huge commotion. Then suddenly, it calms down and Bestia achieves softer vocals with softer guitar and drum parts. It is as if there is a contrast in the song, much like black and white after the distortion in the guitar reaches its peak.
After the soft interlude, the song speeds up once again and it connects itself with the chorus and ends with a peak making the song a whole on its own.
#8 Pustule (2:55)
The eighth song of the album, Pustule, starts with the energetic and rocking intro of the vocal, which gives the piece its dominant vibe. The song then continues with its upbeat melody.
The strong vocal is backed up with dynamic drums and a rhythmic pattern of the electric guitar. Drums pull attention throughout the song. Even if not given a solo, the drummer keeps changing their patterns to give a good shift of melody. After the second chorus, the rhythm drops, and we hear a descending chord progression between minors and majors. The vocal sings calmly to get the audience ready for a blast. As it turns into a brutal performance, the vocalist does a great job controlling the scream vocal. The brutal vocal is one of the main metal elements they blend with their music to impact the listener. After that, the active use of kicks in the drum pulls listeners' attention. Pustule is a strong track, which starts fast, goes faster, gives place to dynamic melody and rhythm shifts, and finishes with their catchy chorus. The album doesn't lose its energy as we get near to the end. 9.
#9 Summer's Coming (3:19)
In the ninth song of the album, Summer's Coming, drums and guitar find more place for themselves in the song. For nearly a minute, we listen to one of their tasteful solos in this song.
The music starts with the guitar and continues with a strong vocal. In the first chorus, there is the double vocal, which gives the song a little more harmony. Drums are more active than the last track. The choices made by the drummer provide the listener with an excellent example of accompaniment to the beautiful guitar solo. The different degrees in the scale which were not used before are used in the solo to form a melodic solo. It doesn't follow the main chord progression and gives a harmonic taste to the song. Drums and guitar finish the solo together, and the piece is finished with the chorus. As it became the style of Toxic Tito, they end the song with lyrics, which shifts the listener's last impression to the lyrics.
10. Flux Machine (2:29)
In the tenth song of the album, Flux Machine, funky guitar goes through the song. Rhythm elements are a little bit different than other songs and this creates diversity in the album.
The song gains the rock and metal vibe in the following minutes. Vocals and guitar melody give harmony to the song while lyrics are sung as short shout-outs and are pretty catchy. In this track, lyrics dominate the song to some extent. The shifts in melody make the song a part of this album for its style. The quality experience of funk makes this song one of the most original songs of the album.
#11 Disintoxication (3:03)
This energetic and melodic song gives a brief impression of the album, mixed together. The intro reminds Rush with the use of the guitar arpeggio and the iconic ride at drums.
Song has stops in the melody, which gives the listener a moment to focus on the lyrics, a nice choice both for the melody and song in general. At this point of the album, it can be seen that Toxic Tito never has a song that is dominated either by the melody or the lyrics. They rather have harmonic melody patterns that are strongly connected to lyrics. The energetic atmosphere created by the vocals and drums incites the listener to sing ''stop, stop, stop, stop'' after listening to the song a few times. The bass melody has an important role in the feel of the song. When the guitar solo comes, the listener's already banging their head. The short solo is rich in patterns. It makes this short and fast song even more enjoyable. While the song is fading out, the listener notes the band's name to get more of this experience.