PIG - The Gospel
Industrial, Rock It might be awfully displeasing to some industrial fans learning of the Lord of Lard's altering from post-industrial sounds to a more alternative-rock route. I can already see some forums set aflame with comments such as, "Industrial is dead," because of PIG's deviation from the familiar, but I'm pretty fucking glad they're just moving into an arena where they can continue to hone their craft and continue to create good fucking music without repeating what they've done in the past. And, considering Raymond Watts has done an awful lot in his career, it's respectful of him to rebirth his project with a brand new sound rather than trying to become a zombified version of his past self with a new angst. That, I think, is what kills most projects when they try to come back together.

With his new album, Watts brings killer electronic mayhem to the field of alternative rock while still maintaining an all around sleazy, industrial influenced sound. That's not surprising seeing as how he helped make the first incarnation of KMFDM. That being said I recall my earlier comment and state again that Watts has done a whole lot in his musical career; you're going to hear influences from funk, electro, ambient, and even cinematic scores throughout The Gospel. So, sit down, shut the fuck up, and get ready to praise the God that is Raymond Watts.


'The Diamond Sinners' hits off the album first and is a fucking beast. A sludge ridden and slow rhythm barrels down the door paired next to cynical anti-religious lyrics. The vocals in the song are purposefully spoken with a chorus effect backing them making the song that much more epic. 'Found In Filth' will speak to folks who love themselves some good ol'rock'n'roll. Some light electronics will play in, but it doesn't pierce any novelty the track holds. 

'Toleration or Truth' picks up with some spoken word verses backed by light electronics with strongly sung chorus. 'Drugzilla' puts PIG into their home territory of industrial as clanging instruments pound against synths and tape noises all in the same. 'Missing The Mainline' brings one of the most alternative rock sounding songs off of The Gospel and may leave a few Pigheads out there scratching their heads and wondering what the fuck they're doing. In all honesty, it's not half bad, maybe a bit too soft for the album, but not bad. 

'Viva Evil' plays with experimental sounds and horns as PIG continues to rain down thunder and lightning. 'Saturated' is another slow song on the album with deep growling chords and thumping percussion driving it forward. 'The Fly Upon The Pin' sounds like something that belongs in a post-apocalyptic film or desert during the beginning notes, and slowly works its way from acoustic western-cinematic tones to a thriving dark world. The final two tracks on the album 'Mercy Murder' and 'Make Yourself Deny' took it fairly light with alternative rock more in mind than anything else. 

The Gospel contains some major hits that will go over with most anyone who listen to it such as 'The Diamond Sinners', 'Drugzilla', and 'Viva Evil'. Some of the lighter, rock oriented tracks might not be for longtime fans who knew PIG when he was just a piglet, but I usher in thoughts from earlier where I said evolving and moving forward has brought forth fruit...Or bacon in this case. Watts knows what he's doing, the production is tight, the sound is awesome, and there are no filler tracks on this album. This is an easy 8 out of 10. 
4
Brutal Resonance

PIG - The Gospel

8.0
"Great"
N/A
Electroracle
Released 2016 by Metropolis Records
It might be awfully displeasing to some industrial fans learning of the Lord of Lard's altering from post-industrial sounds to a more alternative-rock route. I can already see some forums set aflame with comments such as, "Industrial is dead," because of PIG's deviation from the familiar, but I'm pretty fucking glad they're just moving into an arena where they can continue to hone their craft and continue to create good fucking music without repeating what they've done in the past. And, considering Raymond Watts has done an awful lot in his career, it's respectful of him to rebirth his project with a brand new sound rather than trying to become a zombified version of his past self with a new angst. That, I think, is what kills most projects when they try to come back together.

With his new album, Watts brings killer electronic mayhem to the field of alternative rock while still maintaining an all around sleazy, industrial influenced sound. That's not surprising seeing as how he helped make the first incarnation of KMFDM. That being said I recall my earlier comment and state again that Watts has done a whole lot in his musical career; you're going to hear influences from funk, electro, ambient, and even cinematic scores throughout The Gospel. So, sit down, shut the fuck up, and get ready to praise the God that is Raymond Watts.


'The Diamond Sinners' hits off the album first and is a fucking beast. A sludge ridden and slow rhythm barrels down the door paired next to cynical anti-religious lyrics. The vocals in the song are purposefully spoken with a chorus effect backing them making the song that much more epic. 'Found In Filth' will speak to folks who love themselves some good ol'rock'n'roll. Some light electronics will play in, but it doesn't pierce any novelty the track holds. 

'Toleration or Truth' picks up with some spoken word verses backed by light electronics with strongly sung chorus. 'Drugzilla' puts PIG into their home territory of industrial as clanging instruments pound against synths and tape noises all in the same. 'Missing The Mainline' brings one of the most alternative rock sounding songs off of The Gospel and may leave a few Pigheads out there scratching their heads and wondering what the fuck they're doing. In all honesty, it's not half bad, maybe a bit too soft for the album, but not bad. 

'Viva Evil' plays with experimental sounds and horns as PIG continues to rain down thunder and lightning. 'Saturated' is another slow song on the album with deep growling chords and thumping percussion driving it forward. 'The Fly Upon The Pin' sounds like something that belongs in a post-apocalyptic film or desert during the beginning notes, and slowly works its way from acoustic western-cinematic tones to a thriving dark world. The final two tracks on the album 'Mercy Murder' and 'Make Yourself Deny' took it fairly light with alternative rock more in mind than anything else. 

The Gospel contains some major hits that will go over with most anyone who listen to it such as 'The Diamond Sinners', 'Drugzilla', and 'Viva Evil'. Some of the lighter, rock oriented tracks might not be for longtime fans who knew PIG when he was just a piglet, but I usher in thoughts from earlier where I said evolving and moving forward has brought forth fruit...Or bacon in this case. Watts knows what he's doing, the production is tight, the sound is awesome, and there are no filler tracks on this album. This is an easy 8 out of 10. 
Aug 20 2016

Steven Gullotta

info@brutalresonance.com
I've been writing for Brutal Resonance since November of 2012 and now serve as the editor-in-chief. I love the dark electronic underground and usually have too much to listen to at once but I love it. I am also an editor at Aggressive Deprivation, a digital/physical magazine since March of 2016. I support the scene as much as I can from my humble laptop.

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