SPILL ALBUM REVIEW: PIG – RED ROOM

PIG
RED ROOM
METROPOLIS RECORDS

Raymond Watts returns with his PIG moniker. This is another album full of strong opinions, lyrics, music and melodies. While the music certainly leans toward the heavy, angry, grinding electronic music. It is full of hooks, and melodies that burrow into the ear and stay there. Not exactly sing-along, but it does make for an engaging and interesting listening experience. Watts utilizes synthesizers and loops in a very creative way, and his assorted helpers make a unique and original sound.

These artists, to name a few, help out on the album and it becomes a bit of a who’s who of the alternative electronica arena. Musicians such as Alexis Mincolla (3Teeth), Chris Hall (Stabbing Westward) are featured. The PIG Choir includes vocals from Chris Connelly (Revco, Ministry), Emily Kavanaugh (Night Club), I Ya Toyah, Marc Heal (Cubanate) and Burton C Bell (Fear Factory), En Esch, Susannah Doyle, Anita Kyoda, Mark Alan Griffiths, Mike Watts, and Jimmy Livingstone. They all assist Watts in creating the PIG sound and atmosphere. The choir is extremely important, as they provide a whole new level to their sound.

The album opens with “Crumbs, Chaos & Lies”. As soon as the needle hits the groove, one hears “lies, deceit, despise”, which pretty much sets the stage for the entire album. This is pure anger simmering out the speakers, but not anger for anger’s sake. Musically and lyrically, Watts is exploring his dystopian view of the world, which in some ways serves as a warning for people if the lies and posturing of governments are continually believed.

Some tracks, such as “Trash Temple” brings to mind TheThe’s Naked Self era, but again, it is merely a hint. Watts is smart enough to turn the influences into his own distinct style. “Trash Temple”, for example, has the grinding guitars and heavy, pounding beat, but again, it is saved due to a strong melody buried in the mix and exceptional playing and production. The dramatic song comes to a beautiful, quiet end with “hush hush” being repeated. This is a perfectly arranged song.

Elsewhere, a song like “The Sick Man’s Prayer” is about as mellow and quiet as they get. Disturbing images are still presented throughout the lyrics, yet, once again, the arrangement leads one into a world that plays out like a silent German expressionist film. Layered sounds fade in and out, and the end result is a cinematic song that creates an incredible atmosphere. “Six Eye Sand Spider” is another that is less heavy than others and certainly makes no bones about painting a rather dark image of wealthy people. It is hard not to like the song, and the way in which it is presented brings a smile to one’s face.

Red Room is a fascinating album. It is never boring, nor does it ever waver from its intention or goal. Watts has come up with an album that demands and gets the listener’s attention, and although it is heavy, it is best listened to in its entirety. Red Room may not bring new fans to their music or the genre, but what Watts does do is explore the boundaries of the genre, which may entice more to give it a chance and give it a try. It is a well-made album that holds together and is very consistent.

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