PIG – Red Room – Skylight Webzine

Raymond Watts, the creative genius behind PIG, has returned to the depths of industrial soundscapes with his latest release, Red Room. This album, co-written with Jim Davies of Pitchshifter, combines twisted industrial grooves with a diverse spectrum of guest performances, including guitars from Günther Schulz and an unexpected jazzy touch from trumpeter Enrico Tomasso. Red Room doesn’t just retread familiar material; it pushes the frontiers of industrial music by wrapping chaos, electronic experimentation, and strong guitars in a frightening, warm environment. The first tune, “Crumbs Chaos & Lies,” sets the mood with thundering percussion, distorted bass, and angry guitar riffs. This industrial song, reminding of Watts’ KMFDM days, is a shocking and addictive request to dance amongst an ocean of mechanical noise. The title track, “Red Room,” changes the tone to something darker and more atmospheric, leaning on trip-hop inspirations with glitchy rhythms and strange, even vicious voices. It’s a strange, dramatic piece that leads the listener into a nightmare of harmonic chaos. Watts’ characteristic combination of powerful guitar, driving rhythms, and distorted electronics is on full display in songs like “Dum Dum Bullet” and “Does It Hurt Yet.” “Dum Dum Bullet” experiments with vocoder vocals and multilayered ambient soundscapes, while “Does It Hurt Yet” has an incredible, almost cybernetic energy that seems like a journey into a digital dystopia. “Trash Temple” and “Slave To Pleasure” go into the darker, hotter side of industrial music. “Trash Temple,” with its whispering vocals and crashing guitars, recalls White Zombie’s dark metal stylings, whilst “Slave to Pleasure” has a sleazy, 1990s glam-metal sound covered in layers of distortion and mechanical beats. Watts’ vocals reflect rock-and-roll decadence, making them ideal for the industrial-glam combination. One of the album’s best tracks, “The Sick Man’s Prayer,” features Chris Hall’s mournful vocals over synth-laden beats, creating a sound similar to Marilyn Manson and Depeche Mode. The raw, distorted vocals combined with the melancholy techno backdrop create an emotional and fascinating track. “Dirty Mercy” and “PIG Is At The Window” show two separate styles of industrial experimentation. “Dirty Mercy” combines 1980s metal inspirations with strong, driving industrial rhythms, and “PIG Is At The Window” combines jazz and hip-hop components with a slow burn of industrial sound, resulting in a no comfort zone experience that shows Watts’ willingness to connect seemingly unconnected musical fields. As the album approaches its conclusion, it does not let up. “Body Count” is an atmospheric, piano-driven song that switches between romance and violence, accompanied by a slow, attacking guitar. Finally, “False Flag” concludes the album with avant-garde electronic beats and distorted, almost chant-like vocals, resulting in a chaotic finale. PIG’s Red Room album presents the harsh underworld of industrial music while pushing its bounds through unusual collaborations and innovative production. Watts’ willingness to combine metal, electronica, jazz, and even hip-hop elements while remaining loyal to the album’s industrial roots makes this record nostalgic and a contemporary musical adventure.