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Supporting the Slicing of Bitches Since 2001 - 78%

DawnoftheShred, April 24th, 2007

Ah, Bitchslicer. Easily one of the most disturbingly funny bands I've ever encountered, as well as one of the few talented modern purveyors of groove/thrash that offer more than mindless Pantera worship. Their debut Cum Inside, a collection of tracks recorded over several months with various lineups, offers a varied glimpse into the band's inherent twistedness that the average listener won't soon forget.

They say that a picture is worth a thousand words. If that's so, then the cover of this album certainly brings to mind more than a few synonyms for "explicit." A lighthearted display of gore and pornography over a light pink background wallpapered with hearts and kittens (plus plastic hearts in the jewel case) should give the potential consumer quite an idea of the content they're about to be subjected to. Hell, the band's website even has its own porn. That said, the lyrical content on this release should be quite familiar to fans of 90's death metal: entrails, cunts, and bears, oh my. Sure they don't take it too seriously, but a frightening uncertainty is driven home by the fact that this isn't death metal; therefore, the vocal delivery allows those lyrics to be pretty damn discernable. For those wondering, that vocal delivery is generally your typical thrash shout-singing, though a little hoarser and Phil Anselmo-ish, with occasional spots of clean singing. Vocalist King Gary isn't going to be getting a Grammy anytime soon, but his voice suits this perfectly.

So on to the music. This is thrash metal, but it's in the style of 90's thrash ie. mostly buried in mid-to-slow tempo riffing and featuring plenty of down-tuned groove. But it's not unlistenable, a conclusion one would be quick to jump to. The songs are quick (1:30 - 3:30) and nasty, utilizing lots of simple yet effective riffing. Most of the songs are pretty heavy and I dare say catchy, with occasional spurts of lead wankery. Due to the brevity of the tracks, the quality of riffs, and the humor in the band's bastardly lyrics, I like this a hell of a lot more than most groove-thrash.

Problems? Inconsistency. Since the album is basically composed from a bunch of different recording sessions, there's no sense of constancy throughout the album. The album flow is odd, mixing up the band's standard sound (the meh-tul) with some odd tracks (a Hank Williams cover, a few out-of-place acoustic songs, a drunken answering machine message, and a pair of instrumental versions of earlier songs). There's also an inconsistency in sound, with some of the mixing worse as the tracks go by (listen to the drums, you'll hear it). And of course, I really wish there were more fast thrashy songs on here, but otherwise, these are but a few flaws on an otherwise unique and engaging album.

So this isn't true thrash, nor is it true death, nor is it true groove. But what it is is a fine perversion of all three that should most certainly be experienced if encountered. Love it or hate it, you won't soon forget it.