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Wham, bam, thank you slam - 67%

MikeyC, November 25th, 2015
Written based on this version: 2014, CD, Morbid Generation Records

Hailing from Australia, this is another band giving slam death metal a red-hot go. There are good bands in this genre such as the awesome 7 H. Target, but then there are some stinkers like Vulvectomy. It’s a difficult genre to properly play, and there are so many problems with how they are played. Of course, I am speaking from my own perceptions, but I see a lot of potential with not a lot of pay-off. Internal Devour leans towards the pay-off section with their debut EP Aborted and Slaughtered, but it’s not always smooth sailing.

EP starts with “The Fetus Bin,” sampling a woman getting tortured with some fade-in slams. This leads directly to “Aborted and Slaughtered,” filled to the brim with slams and vocals from Matt Turkington. The drums are a little triggered, especially noticeable in the snare, but I don’t find it to be detrimental – in fact, the slight digital nature gives Aborted and Slaughtered some power in the battery department. Guitars are heavily down-tuned, giving the breakdowns in each song a lot of staying power. Not all the riffs themselves are quite effective, but there are some flashes of brilliance abound, such as the sped-up section in “Rape Induced Coma.”

Occasionally, the slams can intrude on an otherwise great riff. “Cadaver Fornication” starts strongly with speed and some nice blasting, only to breakdown, then breakdown again really slowly. It interrupts the flow of the song a little too much, even if the breakdowns are effective. In the future, perhaps elongating the faster portions would be beneficial to the evolution of the tracks, rather than placing a slam in because “goddamn it, we’re a slam band!”

The biggest pitfall here is most definitely the vocals. I have no issue with the delivery, just the frequency. Obviously Internal Devour see him as the integral progression of every song, but the fact that most of the EP is saturated with his vocals undermines the importance of the music itself. Aborted and Slaughtered have a lot to offer instrumentally, so it’s disappointing that the vocals, no matter how talented Matt is, overshadow them at almost every opportunity. In “Inlaws and Hacksaws,” the music gives way to a nice drum solo, and the fact that the vocals are quiet during this section shows that there is enough in the instruments to keep them going alone.

Overall, this is a fairly decent EP by an up-and-coming slam band where I can genuinely see a future. If they can cull some vocals and maybe get some solos in there somewhere, they could be a leader for slam death. This is good for an EP length, but some more variety would be crucial if a full-length album is on the cards.

Bloody vivid, but a bit processed. - 67%

hells_unicorn, August 29th, 2014
Written based on this version: 2014, Digital, Morbid Generation Records

There are few avenues of inducing nausea that are as effective as the vivid depiction of gore via abortion. Cannibal Corpse first pioneered the concept in death metal via the visual medium back in the early 90s, but their cartoon-like, otherworldly zombie doctors were a bit too safe for today's crop of sick Aussies, thus the newly formed Internal Devour opted for something more along the lines of a snuff flick with plenty of modern horror trappings to boot. Tastefulness is obviously something that goes out the window once all of this is established, so one is left to ponder where the music leads, and this blood-infused debut in Aborted And Slaughtered leaves things with more of a mechanical feel and a deficit in organic goodness.

In a corpse-shell, this album has about as many slams in it as the first 10 years of WWE Monday night events, and maybe a Wrestlemania just for good measure. The usual assortment of vocal burps and gurgles abound, with a few well-placed higher pitched shrieks, particularly on the opener "Aborted And Slaughtered", which occasionally exhibits some grind tendencies. The guitar work largely bangs away on groovy, low-end power chords with varying degrees of slowness while the drums speed away. Sadly the drum work proves to sound extremely flat and overly contrived, sounding more like a bare-bones drum machine's work with a slightly above average dimension of sound. The bass work occasionally becomes pronounced and largely sticks to the muddy bottom end, functioning more as something that would be missed if it were gone, but otherwise barely registers apart from a few brief solo sections here and there.

There are a few bright moments here and there, namely the multifaceted display of grooving and slow trudging of "Cadaver Fornication" and the occasionally technical Cryptopsy worship on "Stench Of Flesh", but by and large the highlight points of this plain affair are the occasional horror flick narratives spliced in at a few random points of the album. This band definitely has some solid chops, but they seem to be holding back a bit and relying more on the proficiency of their vocalist to carry most of the album, not to mention that the popping drum machine-sounding snare starts to sound a bit trash can-like during blast and roll sections, which occur with a fair amount of frequency. There is definitely potential here, but they definitely need to hone and expand their craft a bit, not to mention drop the current drum sound they're sporting. Stomach-wrenching visuals can only take an album so far, regardless to whether or not the demented physicians remember their latex gloves.