Pigs – Wronger

pigs_2015_RingMaster Review

If you are looking for a noise rock treat to end the impending year’s end on a high, we have the new Pigs album to suggest. Equally if you are looking for a ferocious punk rock tempest, or an uncompromising rock ‘n’ roll confrontation, Wronger fits the bill perfectly too. The new album from the New York City trio of Dave Curran from Unsane, Jim Paradise of Player’s Club and Freshkills, and Andrew Schneider (renowned producer with the likes of Cave In, Converge, Made Out of Babies, Unsane, and Keelhaul on his CV), is a brawl you will only get increasingly excited to be swallowed up by. It is a blaze of scarring imagination as virulently addictive as it is mercilessly abrasive, and indeed bracing. Pigs made a mighty debut with first album You Ruin Everything in 2012, cemented and pushed their refreshing presence with the Gaffe EP the following year, but Wronger is a whole new caustic bitch slap of pleasure and aggressive adventure to get fired up by.

It opens with the sonic infestation of A Great Blight, a diseased web of noise hypnotically living up to the creeping invasiveness of its title. The instrumental piece crawls over the senses and into the psyche, eroding defences with its repetitious whilst The Life In Pink waits in the wings to fill its departing void. The second track though rather than quickly assaulting ears weaves in on a flirtatious hook cast by Curran’s guitar, its successful lure shaking under the impact of Paradise’s composed and resonating beats. In no time the bass of Schneider growls with a predacious passion whilst the riffs and vocals of Curran add grizzled attitude and prowess to the song’s emerging heavy stroll. It is a raw and thickly enticing bluster, tempestuous rock ‘n’ roll which ensures an inescapable persuasion, especially with the re-occurring delicious hook which sets things rolling.

pigs_wronger_cover_RingMaster Review     The following Bet It All On Black leaps in with a punk swagger and impossible to resist rhythmic devilry, willing feet and hips recruited as rapidly as ears and imagination through another delicious hook which this time has a whiff of post punk addictiveness to it. Schneider swings an equally magnetic and infectious groove through his ever bestial toned bass, another spice to the gripping drama and threat of the track, an intimidation emulated in Amateur Hour In Dick City though it pursues a more hard rock flavouring to its noise rock volatility. As in all songs, things evolve though, turn in on themselves and bring new twists and exploits to contemplate. Without quite matching its predecessors, there is only an infection to the eventful song which flows eagerly before Mope descends on the listener with its scuzz woven tapestry of meandering grooves, intoxicating hooks, and predatory rhythms. A smothering cloud of raw noise is the best description, this veined by virulent temptations and, within certain brief partings of its worrisome clouds, melodic toxicity for major addictiveness.

     Wrap It Up is the same, its hostile climate and abusive physical invention increasingly persuasive with every sonic lancing and rally of rhythmic bullying colluding in something quite bewitching as it corrodes the senses. Imagine Joy Division meets Unsane and you get a sense of part of the excellent encounter, though again it is a proposition shifting tact and character minute by minute.

The Cajun twang of Mouth Dump and its thumping beats around a trio of spoken vocals spark thoughts next, its short insight a respite yet provocateur in a way setting up the scathing roar of Make Sure To Forget, another sonically cancerous slice of punk/noise agitation with its own tasty Buzzcocks scented hook. As seriously pleasing as it is, it does not rival in success other songs around it, emphasizing their might, and is unlucky to be followed by the majorly outstanding Bug Boy, a song which makes you forget the past three or so minutes as soon as it scurries under the skin. Featuring guest vocals from ex-Made Out of Babies/Battle of Mice front woman Julie Christmas, the track is a ravenous tempest once again entwining imagination infesting grooves and hooks, barbarous rhythms, and a vocal bedlam to get greedy over.

Wronger is brought to a close by firstly its physically cantankerous title track and lastly the extensive bellow of Donnybrook. Both songs grip forcibly as they abrase and tempt, the first hitting its sweet spot around midway when it dips into a haunting melodic aside still walled by raw shadows and waiting to bellow sonic animosity. Its eight minute successor prowls and lurches through ears with doomy breath and volatile temperament, becoming more unpredictable and magnetic as a warm calm emerges from its erosive landscape and in turn brews its own dark imposing atmosphere which becomes the dominate wind of fascination. A slow burner compared to some, the track is undoubtedly a mighty end to a thoroughly enjoyable trespass.

The album is easily Pigs finest moment to date, but you get the feeling still just a step to bigger and bolder things from the band. As Christmas lists are being drawn up, Wronger is one to place at the top for all violent rock ‘n’ roll fans with no regrets found through this thrilling beast

Wronger is out now via Solar Flare Records on 12” vinyl, CD, and digitally @ http://music.solarflarerds.com/album/wronger

http://www.pigsnyc.com     https://www.facebook.com/pigsnyc

Pete RingMaster 13/10/2015

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Challenges and instinct: an interview with Dave Curran of Pigs

Dave Curran

Amongst plenty of raging creatively incendiary triumphs to have bruised the year, the Gaffe EP from noise rock band Pigs stood out with ease, its trio of tracks a thrilling rapacious bridge between the band’s acclaimed debut album You Ruin Everything and the bands coming follow-up release scheduled for early next year. Consisting of Unsane’s Dave Curran, Jim Paradise from Player’s Club, Freshkills and Hellno, and renowned producer Andrew Schneider (Cave In, Converge, Made Out of Babies, Unsane, Keelhaul), Pigs confront the senses and imagination with a unique and instinctive fury of intensive sonic weight and antagonistic adventure. To find out more about the origins of Pigs, the member’s numerous and constantly commanding projects, Cheap Trick and more, we had the pleasure of talking with guitarist and vocalist Dave from the NYC band.

Hello Dave and welcome to The RingMaster Review, many thanks for taking time to chat with us.

Firstly can we get you to tell us about the beginnings of Pigs, how you all met and the spark to form the band?

Jim Paradise and I had known each other for years from playing in Players Club together.  In 2008 I had demo-ed 20 or so songs playing guitar, and let Jim hear them.  He then suggested we start a new band.  Pigs was born.  We started out as a 2 piece then hired Bob Russell on bass and Eric Cooper on guitar.  Bob could unfortunately not tour because of his work, and Cooper moved to Texas.  Enter Andrew Schneider… Andrew and I met while he was recording a Keelhaul record at his studio.  I asked if he would record the next Unsane record and join Pigs on bass, he said yes and yes!  He’s been with us ever since.

You were heavily involved in other bands at the time of coming together, and of course continue to be, so did Pigs simply come out of filling spare time between projects or was it an idea long in thoughts and the waiting?

I had some down time and wanted to start a new project where I played guitar again.  We all clicked from the onset and decided to keep at it.

Initially the band was a quartet and now of course a trio; how has that leaner set up enhanced the band if at all?

10 million dollars divided by 3 is better than 10 million dollars divided by four?  Not sure if it’s better or not, it’s just the way it wound up.

You have just released the outstanding Gaffe EP, a three track incendiary bruising which for us feels like a natural offshoot of your 599359_727999003883154_249750389_ndebut album You Ruin Everything whilst pointing at an incendiary evolution in process. How does it feel from the inside?

I like the EP.  There was no conscious effort toward any evolution; I suppose that’s just how things go in general.  I like challenging myself, as do the other guys, which hopefully leads to a more interesting end result.

How has your sound moved from the first album, is there any aspect which you feel has found a particularly distinct step forward?

I’d like to think our sound would simply progress every record.  It’s something you have to work at but when it’s fun it should be no sweat.  We always throw around tons of ideas and keep the ones that strike as interesting and, more importantly, don’t sound like anything we’ve done before.

Does Gaffe present a fair representation or promise of what your current writing and sophomore album will hit us

Sure!  Hard to say though…  There will be some surprises…

How do songs come about in Pigs?

It depends, some I write at home and bring ideas to practice for us to work on.  Often we just write together.

Are there situations where ideas maybe thought up for your other projects have found a perfect home with Pigs or in reverse, ideas created as Pigs you felt would work better in your other bands?

Nope.  All Pigs songs were written for Pigs.

How much time is there for Pigs in comparison to your other projects; is there an element of urgency to everything about the band, a need to explode in every aspect just to fit things in or is it a more relaxed situation time wise?

We’re all fairly busy when we’re home, but we always make time for writing and touring.  It’s just a more focused schedule but nothing terribly stressful.

Does the band in some way give you a creative freedom maybe less accessible in your other projects and bands?

We all went into this with no structured plans for Pigs at all.  We basically keep songs that feel right to us.  Then again I’ve never felt musically stifled in any other projects I was in.

pigsAs mentioned earlier Gaffe is three song storm containing two original and one cover. The new songs have, as well as an evolution in sound as talked of, a more defined voraciousness to their creative ‘scourge’ and intensity. Something you feel also?

Well, 2 songs are covers actually.  Cheap Trick and Betty Davis ‘If I’m in Luck’.  But why not!  Voracious and Scourgey as all hell!

You mentioned there the Cheap Trick song, a brilliant cover of Elo Kiddies, a song with for us where Cheap Trick meets Alice Cooper meets KEN mode. What sparked your choice of the song and how did you approach it to make the track something with a unique Pigs feel?

I’ve always wanted to cover that song since I was a teenager.  It wasn’t going to happen with Unsane, so it seemed appropriate. I don’t think there’s a secret formula to feel of it, we just learned it, tuned down and played

You have just completed a European tour with one of our favourite bands, French noise metallers Sofy Major. How did that go?

Terrible, those guys are jerks…  Ha!  Not at all, great band, great guys.  The tour was very fun, can’t wait until the next one.

…Any memorable moments?

All of them.

What comes next for Pigs, can you give any hints or secrets away about the next album?

New record in the late spring – early summer of 2014.   Whistling solos, tell all your friends…

That’s it for me except Melvins tours.  Andrew has a bunch of recording coming up as well as the re-opening of Translator audio soon!

Once again thanks Dave for sharing your time with us. Any final thoughts or words you would like to leave us?

No problem.  I suppose ‘Goodbye Cruel World’ would be a final thought…

Read the review of the Gaffe EP @ https://ringmasterreviewintroduces.wordpress.com/2013/10/16/pigs-gaffe/

www.pigsnyc.com

Pete RingMaster

The RingMaster Review 03/12/2013

Copyright RingMaster: MyFreeCopyright

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Pigs – Gaffe

pigs_pic

Following on from their enjoyably riotous acclaimed debut album You Ruin Everything, noise rock band Pigs unleash the Gaffe EP to satisfy and ignite the senses as the band work on their second album. The three track release is a bruising exhilarating encounter which flows like a seamless offshoot of its predecessor whilst showing an evolving sound which suggests the NYC trio’s upcoming sophomore rage could be one incendiary blaze.

Consisting of Unsane’s Dave Curran, Jim Paradise from Player’s Club, Freshkills and Hellno, and renowned producer Andrew Schneider (Cave In, Converge, Made Out of Babies, Unsane, Keelhaul), Pigs confront the senses and imagination with another fury of noise spawned rock causing mayhem in a sludge bred climate of intensity and sonic weight. As mentioned it is a fluid continuation to what was so successfully magnetic upon You Ruin Everything but also offers arguably a more assured presence which sees the band settled in their aural premise whilst stretching and challenging its limits. It is not a dramatic move but one which certainly on two of the tracks, even if one is a cover, which lightens the load if not the force of the impact of songs upon the nervous system.

Released via Solar Flare Records, Gaffe opens with its title track and immediately enslaves the senses and appetite with a growling bass SLF011 - hi-res coverprowl unleashed by Schneider. Hungry and intent on the ear’s submission it is helped and egged on by the sinew thrusting beats of Paradise, the union an irresistible temptation which is soon brought to greater potency by the scorching flames of guitar invention, the scorched sounds an acidic treat conjured by Curran whose vocals equally add heat and raw passion to the encounter. A pulsating slab of dirt encrusted rock ‘n’ roll with addiction laced hooks and vociferous sonic grooves, the song is an irresistible scourge of ridiculously contagious discord soaked noise and melodically twisted persuasion.

It is a mighty opening easily equalled by Elo Kiddies, a sensational cover of the classic Cheap Trick song. To say the band has beefed up the song is an understatement; the still virulently infectious track coming with balls of steel and walls which leer intimidatingly down on the ear as the band kicks sand in the face of the senses stomping with aggression and attitude. The bass of Schneider again is an instant enslavement of the passions, its carnivorous snarling and ravaging of the air a masterful temptation alongside the main barbed lures of the song, that familiar groove and catchy chorus. Like Cheap Trick meets Alice Cooper meets KEN mode, but distinctly Pigs in presentation, it is easily one of the best covers in recent times and another dramatic reason to get the EP.

The final song If I’m In Luck is no slouch in recruiting the passions either, the seven minute track an intensive sludge fuelled slice of primal breath and sonic exploration twisted into an intrusively enthralling swamp of energy sapping, imagination invigorating, smothering heat which drags the emotions through its heavily pressurising climate of punishing beats and gravelly bass rapaciousness veined by searing guitar fire and sonic voraciousness. With the vocals of Curran a caustic wash soaking the riveting pull of the track, the closer is a slow burning high impacting furnace of excellence and corrosive craft.

After allowing the Gaffe EP to confront the senses, the new album from Pigs cannot come fast enough. With the band currently undertaking a European tour with the equally excellent Sofy Major, they are building up to give noise a major fire to contemplate and greedily devour..

www.pigsnyc.com

9/10

RingMaster 16/10/2013

 

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Bad Powers: Self Titled

Some bands upon their introduction just make you sigh with pleasure as the flames to a permanent attachment are lit and such is the case with Bad Powers and their self-titled debut album. It is a glorious and deeply stimulating piece of creative invention, its imagination as stirring and impressive as the raging provocative sounds brewed from the distinctly unique musical minds of the band. Arguably the quality of the release is not a surprise given that three quarters of the band were in the acclaimed Made Out Of Babies which called it a day earlier in the year, but guitarist Brendan Tobin, bassist Eric Cooper, and drummer Matthew Egan, have returned with something quite different and greedily enthralling.

The Brooklyn band headed by the stunning vocals of Megan Tweed (also of The Family Curse), has unleashed a hybrid of post punk and noise rock blended into a steaming maelstrom of innovation and ingenious enterprise. It is not the easiest to describe such the unique invention at play, for example at times the album teases the ear like a dysfunctional offspring of The Creatures, with Tweed sounding like a emotionally beleaguered Siouxie Sioux, The Pixies, and Throwing Muses lined by the corrosive breath of Joy Division, and in other moments the senses are swamped with a ravenous erosion brought by a cacophonous smothering from a mix of The Raincoats, The Sugarcubes, Stinking Lizaveta, and Essential Logic veined by the chilled whispers of a Xmal Deutschland. For all those inciting comparisons though the songs are in a realm of their own, a staggering amalgam of ideas and their inventive realisation brought through craft and energy to leave one drooling within a full and eager passion.

Released through The End Records, the album sets to work on the heart with opener New Bruises, the song immediately turning the key to adoration with dramatic sonic slices across rapping beats and firm riffs whilst Tweed begins her magnetic squalls of immense vocal enchantment. Like the music she offers a warm sizzling caress which alternates with a scorched and tenacious bite, her passionate wind shifts from deliciously scarring thoughts and emotions to coaxing them with a heated elegance. Whichever the source guiding her delivery it is a continual irresistible temptation. The track pulls one into an enveloping sonic wantonness, guitars and bass manipulating the synapses with brewing melodic gasses which consume all resistance whilst the rhythms cage and ensnare with an inescapable captivation.

The following likes of the tempestuous Hit Sniffing Dog and the brilliant Eves And Eyes cast their own distinct spells, the first a mix of intimidating intensity and taunting hypnotic grooves like a blistered union of elements from Dead Kennedys and Belly and the second an expansive crawl of emotive majesty and sinister shadows which delves within the psyche like the darkened fallout from The Birthday Party meeting Breeder overlooked by Morningwood. With its dark strings the track is immense amongst nothing but titanic pieces of dare one say genius?

Throughout its ten stunning tracks the album just offers the richest of rewards from its stylish and brilliantly crafted magnificence. The erosion Black Alf with its rolling plundering rhythms of Egan and abrasive vehemence from Tweedy just sparks higher flames of desire for the staggering creativity, the bass of Cooper snarling with venom within the caustic guitar assault whilst Blueberry transports the ear into an outstanding storm of air pilfering sonic rubs and incessant incendiary grooves. It is not the fiercest of the songs on the album but burns with a melodic heat to leave one breathless and smarting from its precise intensity.

With further heightened pinnacles in Electricity Should Be Free with its Bond like teasing intricacies and evocative swagger, and the quite wonderful and astounding closing track Bread And Butter, the album is without doubt one of the real triumphs of the year. From beginning to end it just wraps the senses and heart in a textured wash of brilliance. From its moments of crunching encounters through to the enchanting yet barbed beauty it seduces with ease through, the release is a sensation and Bad Powers in one stroke has taken sonically gifted music to a new and titanic height.

http://www.badpowers.com/

RingMaster 12/11/2012

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