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'Sloppy Seconds'

Sam Shepherd

sam shepherd

sexcrement sloppy seconds

Album number two from Sexcrement, and not much has changed as far as is it possible to tell. 'Sloppy Seconds' follows on from their debut 'Genitales From The Porno Potty' in terms of lyrical tone and musical direction.

So if the likes of 'Gloryhole Casserole' or 'Paraplegic Pussy Pounder' floated your boat in title alone – fear not – because there's still 'Well Hungover' or 'Obesetiality' for you to giggle at like a massive overgrown schoolchild. Yet despite the attempt to be somewhat shocking it's never more than a musical equivalent of The Aristocrats joke. Had Sexcrement really wanted to upset people, they could have done.

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Naturally, it's the somewhat ridiculous titles are the first thing to catch the attention with Sexcrement – but there's more to this band than an obsession with sexual deviance, drugs and jokes about shit. Not much more admittedly, but enough to keep things interesting.

Musically, 'Sloppy Seconds' might not break any new ground, but it is well played and executed. Finding the biting point between early death Metal and all out party rock n' roll, 'Sexcrement' take the blueprint laid down by the likes of Cannibal Corpse and stick faithfully to the key instructions. In fact it's Cannibal Corpse that most readily spring to mind with 'Sloppy Seconds'.

First of all they trade in similar gross out language and ideas; it's not that big a leap from roaring about entrails ripped from a virgin's cunt to bellowing about pornstars and sexually transmitted diseases. It's barely a hop. Secondly, Sexcrement vocalist Adam Mason has a timbre to his vocals (which might be overstating it slightly) that's not a million miles away from one time Cannibal Corpse howler Chris Barnes.

But it's not all straight up death Metal, in fact 'Sloppy Seconds' adopts several passages of groove to soften the blow (snigger) somewhat. Opening up with 'Heard It Through The Rapevine', they launch into a mid-paced death march that finds time to incorporate a bit of cowbell into the relentless riffing.

Perhaps Sexcrement's saving grace is their ability to switch between lightning fast passages and lurching half time grooves and it's a skill that's showcased perfectly here. 'Chemical Handcuffs' follows in similar style with brutal double-kick drumming from Devon Hunt. Once again they switch between tempos at will, making sure there's enough groove to balance out the speed infused sections. It's a trick that Sexcrement utilise frequently, and if truth be told, with little else in their arsenal by way of solos or unorthodox time signatures it can get a little predictable.

'Well Hungover' taps into Entombed's bombast circa 'Wolverine Blues' and closes with a relentless and pleasing grind, whilst 'Heels Up' and later 'Obesetiality', head back to speedier territory blasting with gleeful abandon.

'Trucker Bombed' is something of a centrepiece, and represents the band at perhaps their most accessible. All the elements are in place, slow-chugging riffs that somehow manage to sound catchy, lightning quick sections, and a chorus that could vaguely be described as pop infused (albeit very vaguely).

It's no surprise that this is the band's first single from the album, although the video for it has to be seen to be believed. Featuring Scream Queen Linnea Quigley (her from Hollywood Chainsaw Hookers, The Imp (aka Sorority Babes In The Slimeball Bowl-A-Rama) and Return Of The Living Dead) as a piss and shit crazed lunatic, it's an adequate visual representation of what this band are all about.

'Ride Johnny Ride' closes the album out in fine style with a seeming endless barrages of killer riffs from guitarist Evan Duplessis. He might not be the most technical player, but he seems to have a habit of coming up with the goods when something primal is required.

'Sloppy Seconds' is by no means a sloppy album, a little predicable at times perhaps, but overall, it's a phenomenal slab of party edged death Metal. Sexcrement's humourous edge might well do them a grave injustice in the long run, because there's a lot more here than simple gags about shit, drugs, and pussy.

On the other hand, if that's what you're after, then this is a band that'll never let you down.



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