PIGS PIGS PIGS PIGS PIGS PIGS PIGS: Feed the Rats

PIGSX7 OXFORD GIG APRIL 10, 2019. HERE’S WARM-UP REVIEW #2

  1. Psychopomp 15.06
  2. Sweet Relief 4.39
  3. Icon 17.00

Look at those numbers. Look at the bloody LENGTH of it. Exciting, eh? Especially when you’ve already capitulated to Pigsx7’s debut release The Wizard and the Seven Swines, which is itself a 22-minute purge of damaged psyche and slamming riffs.

Debut full album Feed the Rats looks like it does a similar thing, even before you play it. This is a Good Sign because Wizard’s stretched-out scorch was a win win win win win win win. Can Rats match it?

Pigsx7 Feed the Rats CD cover

Feed the Rats: ugly thrills

With Psychopomp, you don’t have time to think about that – straight in with a no messing, bam-bam-bam riff and Baty in immediate full vocal hurl. It’s an abrupt, Pigsx7-style wake-up that picks up exactly where The Wizard and The Seven Swines disintegrated.

Thing is, your head tells you it’ll calm into a purer Sabbath-influenced groove

no chance. Psychopomp shakes that kind of lame-o conditioning right out, and Pigsx7 aren’t Sabbath knock-offs anyway, are they? Too rough, too jam-based, too psyche/d. You sense that, like it is for many of us, Year Zero for direct heavy influences is somewhere in the 90s at the noisier, more ragged end of the desert/psyche/drone scenes.

Psychopomp rams all that stuff together in a quart-hour charge: early Desert Sessions twists (flickers of Fatso Jetson?), Heads-like space-rock afterburn, Kong-sized mega riffs (six minutes in, ‘kin HELL) and brief Boris-worshipping ponderosa are all there, shoved in a bag and dragged without care up a northern peak. Bruising. By the time you reach pomp’s end you’ve had four minutes of squalling heavy charge and galactic wah. Fucking magic.

Did that meet expectations?

‘course it did. We know what we’re getting by now. Sweet Relief does what it says, but it’s relief in length only. Rammed with tarmac-splitting bounce, it shoves you through to a storm-force battering from all sides.

The beyond-massive Icon starts with a riff classick, Baty gets buried by guitar leads, the rhythm’s uber-tight and we’re caked in Pigs glory all over again – an over-amplified shitstorm you don’t wanna leave. The last five minutes is pained repeat and jarring battery:

HOLD ME ….

ICON ….. FESS”

Meaning? Dunno. But the lyrical fragments that come through match the music’s exhale, and even without knowing the words, Baty’s delivery gushes existential.

In a 2018 round-up, buzzed by the enormity of King of Cowards, I wrote that Feed the Rats perhaps didn’t quite match The Wizard and the Seven Swines. Wrong. The Wizard crash landed from nowhere and had surprise on its side. Feed the Rats had summat to live up to and it went for the Full Ugly: gut-busting endurance with a soul-cleansing pay-off.

Pigs Pigs Pigs Pigs Pigs Pigs Pigs. Worth repeating: it’s physical.

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  • File next to Gnod, Sleep, The Heads, Part Chimp, Drore, Rollins Band, early daze Monster Magnet
  • Feed the Rats: released 2017 on Rocket Recordings, get it on Bandcamp
  • No time for a King of Cowards review before the gig, so we’ll see you on the other side. Unless Shockmaster bulldozers us first (pleeease)

PIGS PIGS PIGS PIGS PIGS PIGS PIGS: The Wizard and the Seven Swines

PIGSX7 PLAY OXFORD THIS WEEK. HERE’S THE FIRST OF A COUPLE OF REVIEWS TO GET US WARMED UP

Nothing says WE’VE ARRIVED quite like sticking a 20-foot monolith outside your house on the day you move in, and this track is very much on those making-a-statement lines – an immovable, rough-edged pasting of fried motorik, asteroidal burnout and howling catharsis. Punk Sabbath for the post-Sleep generation? Welcome to the first shot from Pigs Pigs Pigs Pigs Pigs Pigs Pigs.

But if you got here by GNT or some other radio darling from album #2 King of Cowards, strap in and gear up for something far less concise.

This little brutey clocks in at 22 minutes. All one track of it.

the-wizard-and-the-seven-swines

Prog? No. Primal? Shit yeah. The opening riff is coiled, up on the balls of its feet and ready to shift, like rock-ist Oneida launching one of their head-fucking long-forms but, as you’d expect, much rougher in its horizon-bound momentum.

Then comes Baty. Matt Baty. The Voice. Less a vocal than a hurl into the Spent Zone, he forces total lung capacity into every word and is vein-bulger hoarse before he even gets going, yet it’s not a macho metal hard-fest scream or anything contrived like that. His is an all-too-human bellow and is a massive part of what makes this band the way it is. No-one else sounds like them.

So, after the opening repetitions and moto rhythmics, what happens in 22 minutes of TWATSS?

(after two years with this track, I literally only just noticed that acronym when I typed it here. An accident? Maybe. But then again, these guys also have/had a band called Khunnt, so who knows?)

5 minutes: RIFF DROP. Floor-opening bottom end, a hulking motherfucker bulked by four-string filth, lifted by post-rock arcs and then fully grooved by insistent badass bass.

By now, Pigsx7 are beginning to sound apocalyptic. We’re in a transition to somewhere – or steeling ourselves for something.

8 minutes: ANOTHER RIFF DROP. Heavy as – ah shit, it’s gone again. Is this the bridge? As if. But change is a coming, you can smell it.

10 minutes: PSYCH’S OUT. Spacier, less dense, almost krautrocking were it not for Baty’s clipped yelps and barks.

12 minutes: SLEEP. The slowdown. The beating. A one-chord pounding, straight outta Dopesmoker and (we now know) the sound of Pigs to come.

18 minutes: FALSE ENDER. One last gasp in this endless end and we’re almost back to that Oneida trance thing, but by now everything looks and feels different.

We’ve been through the mill. And so have Pigs Pigs Pigs Pigs Pigs Pigs Pigs. It’s like they came of age during the track, starting out lithe but ending it burned, hardened, scarred, thicker set, complete. They’ve been somewhere and taken us with ’em, but no-one quite knows where. It’s all about the journey, man – and the sheer bloody force of it all: a turbulent, never-ending blast. Whatever it is that’s driving Pigsx7, it’s made a merry hell of a first release.

How can they follow it?

The Wizard and the Seven Swines: released in 2013, get it on Bandcamp

Cover image taken from my download from Pigsx7 bandcamp site

PIGS, OHHMS, FAIRIES AND BEER

JANUARY REWIND: NEW HEAVIES FOR 2017

Been a busy month for new discoveries so excuse the gush of these short sharp first impressions but they’ve given January a bit of a jump start, y’ know? A frisson for the short freeze.

PIGS PIGS PIGS PIGS PIGS PIGS PIGSthe-wizard-and-the-seven-swines

Pigs. One pigs is not enough (grammar violation overruled) for some people, which is how you end up with Pigs Pigs Pigs Pigs Pigs Pigs Pigs as a band handle. Doesn’t look quite so bad when written down here, but when you’re scanning the DAB text scroll to catch the name of the band whose rough-arsed rollock has fully pricked your ears, it’s an infinite porker drag. What the fissing puck is all this pigs shit???

Worth the wait though, so it’s a big snouty thanks to Gideon Coe for playing whatever the track was in the first place, because without that introductory exposure to pigsx7, I’d have been forever deprived of The Wizard and the Seven Swines, their 22-minute one-tracker from 2013. Does Fugazi ire, Sleep heft and Thee Oh Sees scorch tease thy aggro-prog garage psyche cravings? Then check the Pigs, meet The Wizard and keep all ears peeled for new album  Feed the Rats.

HEAVY RESISTANCE: OHHMS

You know how some stuff, when you first hear it, is so massive and all-enveloping that it begs, nay commands, you to drop down for heavy duty worship to the Rok Godz?

OHHMS is that stuff. Long swollen subterranean Yob-bery that peddles a mainline in transcendent rifferolla, the Bloom/Cold EPs add up to a massive 60+ minutes for four just tracks – go for the total immersion entry point of The Anchor and see if you ain’t sold on Cold. New album on the way, and Jeezus HC only knows how The Cellar is gonna contain their oversized moltenalia when they hit Oxford on February 13th. CANNOT WAIT. Support comes from Mammoth Weed Wizard Bastard, by the way.

TWO MELS, A GENDER BENDER AND A MAN FROM MARS

Melvins have been obscenely collaborative in recent years, and now they’ve got another ID on the go though it’s not under the Melvins banner. Nope, the Buzz n Dale show have hooked it up with Mars Volta’s Omar Rodriguez Lopez and Teri Gender Bender to form Crystal Fairy, and if the album is anything like the tracks played by Henry Rollins on his Iggy Pop 6 Music sit-in then it’s gonna be tight like (a) Senile Animal. Album due out v soon on Ipecac.

ALCO POP: BEER-FUELLED DRUDENESS

The return! Of the former Lord Yatesbury! Yep, Julian Cope is BACK with a new album: Drunken Songs, a record celebrating Cope’s official embarkation on a Beer Trip that was launched in Armenia a few years back. W-anchored at the back by an oversized Road to Tralee and inspired in part by the funeral song that Cope wrote for himself – As the Beer Flows Over Me, first appearing on Psychedelic Revolution but rerecorded here – Drunken Songs finds the Drude in light mood musically, all mellotron-ic melody and Black Sheep-ish acoustica. He’s on tour as well so don’t miss this highly focused rambling, man – see you in Cardiff for that one.

ADAMS UN-AMPED

Finally, Do you still love me? by Ryan Adams – ace acoustic-only tuneage, nailing that gentle downer vibe.

’til next time!