PIG : "Dirt Box"

 

Raymond Watts has been particularly prolific these days. After releasing "Hurt People Hurt People," he is releasing this EP. It opens up with the very guitar-driven "An American Ideal of Beauty". If it reminds you of KMFDM, it's probably because Gunter Schulz is laying down the metallic riffs on it. There is almost a more 90s industrial metal feel to "Your Reptillian Overlord Presents" that is not unlike the kind of thing Rob Zombie was doing on his most recent album, though a bit darker and more nuanced industrial vocals than the roar Zombie normally delivers. But the crunch and groove are present and working well here. 

"Infidel" carries more atmospheric fear in the more lurking tension of its verses than the anthemic chorus. The vocals drop down into a lower, more dramatic register before building up in the more arena-ready Rob ombie manner. Yes. I am well aware of the fact KMFDM was making this kind of music long before Rob Zombie, or at least back when he was making crusty sludge punk that was trying to be the Stooges. However, since then he has perfected a formula that keeps him headlining stages, so it must be working.  Watts is certainly drawing inspiration from artists that came after him, as there is a Marilyn Manson feel to "Butterfly", another artist whose beginnings were different than where they are today, but has developed a formula that has a proven track record. Here Watts perhaps winks too heavilly in that direction. 

This ends the original song format, and the rest of the album is remixes. The thing about remixes, when presented in this fashion, almost makes me think if the remixed version is better than the original, then why did they just not make the remixed version the original and release an album of the best vision of these songs? With "Your Reptillian Overlord Presents," the breakbeats give a more original soung but the mix lays the vocals bare and makes them sound more like Marilyn Manson, so it's a mixed bag. "An American Ideal of Beauty" is remixed by Stabbing Westward, who brough a more 90s sound to things. It takes the heavier guitars out of the equation until the chorus. Which works well enough, and I can hear a "goth night " DJ  spinning this version rather than the original.

Combichrist's re-mix of "Butterfly" sounds more likea cover with Andy's vocals added to it. It is softened by the synth sounds. , however it all works well. Rabbit Junk's take on "Infidel" is heavy but from a different anglee as it's more industrial and less metal. If you do not know what that means, then why are you reading this review?  Anyway they capture a solid groove.Despite leaning into a more modern sound what his does here works great I will give it a 9 and see how it grows on me . Drops on Metropolis Records

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PIG : "Hurt People Hurt People"

 Raymond Watts is not only a founding member of KMFDM, but has also worked with Psychic TV, Foetus, and Einstürzende Neubauten, making him industrial royalty. This is clear when you hear the heart-thumping lead single"Tosca's Kiss Things" that steers the album in a direction that is brooding and bombastic all at once. Jim Davies of Prodigy and Pitchshifter fame aids him in these endeavors. The vocals are not an afterthought but an emotional expression that adds more depth to the crunching, larger-than-life anthems that unfold here. The range from a gothy baritone croak to a more glam rock-inflected croon. 

With the kind of beats that established him in KMFDM, clearing the path on songs like "Sex  & Suicide." The album continues to flex its dynamic range. The title track is a recovery-themed musing that ironically carries a Marilyn Manson vibe.  "Scars" emerges from a chaotic dark hole and is not as groove-focused, but carries a quirky Tim Burton feel. There is more of a grimy machine-powered march, "Quid Pro Quo," that makes me think more of a 90s industrial. The synth sounds are well-layered on this one, though the entire album sounds great, and I found the perfect mix. 

There is an almost gospel melody that hovers in the background of "Ruins", as well as other contrasting sounds that come from left field. With lyrical references to a church of fire, I suppose it's the subtext to this."DNA" hits the hardest groove, and it the most dancefloor appropriate song thus far. The big layers of backing vocals on the chorus carry a KMFDM mood. "Imposter" required a second listen to fully digest; it was not as dynamic as the last song. It carries a creepier, more bluntly unsettling feel like a Manson tune. The last song contrasts this with a greater melodic range. 

The Verdict

Overall his experience in defining this genre shows him displaying his mastery of this while bringing a new mood to the table rather than a recycled attempt at nostalgia, so I will give this album a 9, and see how it grows on me. 

Drops May 27th on Metropolis Reccords

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Pig : "Swine & Punishment"

I am going to go ahead a treat this re-mix album as if it a album of new material as for all practical purposes the re-invention of these song makes it as such.The album opens up with the  darker moments of "Viva Evil" that reminds me a little of My Life With the Thrill Kill Kult.  The bump and grind that KMFDM normally invokes is summoned on " Found in Filth" . Vocally it sits at more of a Iggy Pop place in the verses. "the Diamond Sinners' is a  Tim Skold contribution that has a bit of a gospel slink to it. While the bulk of this album has more of a KMFDM feel to it this song feels more like Marilyn Manson to me. "the Fly upon the Pin" focuses too much on the atmosphere to the point that it comes across more like an dramatically ambient .

The second take on "Viva Evil"is more upbeat. The guitar is more minimal and the song bounces along it's rubbery groove. The gospel element to 'the Diamond Sinners"remains intact though with a odd edm vibe. Then the dance vibe gets off the chain with the Mortiis remix of "viva Evil" which is not as dark as I expected from him, but I guess this is the direction that roll has been headed .  The second pass at "the Fly Upon the Pin" finds the song moved in a darker direction that feels more like a song. I expected there to be a little more groove to the London After Midnight remix of "the Diamond Sinners". The vocals on the chorus sound like something from a Siouxsie song. So it's plenty dark and I am not sure what I am complaining about.

There is something more Revolting Cocks like about the next version of "Found In Filth" with various televangelists sampled. This is one of the album's best re-mixes for sure. "the Diamond Sinners" and "Viva Evil" get the most remixes. I think it would have been more effective if there had only been two of each song. The the fourth version of it , even the coolest sound begin to sound like filler. To this versions defense it does sound like something from the Tron soundtrack. "Drugzilla" comes across more like a rock song in the context of this album though the more dub glitched elements toward the end of the song work well. The tweaker remix of the final installment of "Diamond Sinners" is less than thrilling though it might have had more impact if this wasn't the 5th version. The last swing at "Viva Evil" might be one of the album's best as it reminds me more of his work with KMFDM. The album closes with "Violence" which is more graceful than most of the songs here. The low Rammstein like vocals don't wow me ,but work for what this is. I do like the line "this is the future that you planned" which sums up my thoughts on anything I hear in the news. With albums like these it can be hit or miss though this hits more than it misses I think pulling from a wider range of songs would have played in this album's best interest, but for what it is I'll give it a 7.5