Raymond Watts, the Infidel of industrial, returns to feed, foul and further his reputation with the new e.p. Prey & Obey.
This will stick to your insides harder than guilt, sin, lard or gin.
The title track, Prey & Obey, reunites Watts with Marc Heal and Phil Barry of Cubanate infamy. You’ll be happily singing along with Watts as he wails and rails from his lowly pulpit on what is sure to become another anthem for the dispossessed from The Lord of Lard.
Next up is The Revelation, co-written with Ben Christo, long-serving guitarist with The Sisters of Mercy, who has been given a new leash of life in lard, and plays all guitars on this release. As the rampaging refrain repeats with its resonating ring of ‘truth is sin’, Watts seems to be giving us a lesson in what constitutes ‘barnstorming’.
The Cult of Chaos sets a more tranquil mood. Penned with Z.Marr (formerly of those paragons of moral virtue Combichrist), it almost takes the form of a breather, or is it a last gasp? And here we can hear another facet and faucet of the endlessly undefinable … Sweet, sour, symphonically sordid and sometimes sick … it’s all here for your delectation, disgust and delight.
Prey & Obey is out now on Metropolis Records, and the video for the title track is premiering on Revolver Magazine and can be seen HERE
In 1986 Raymond Watts awoke in West Berlin. It was a time of terror and turmoil, in a city so depraved and decadent that the East Germans had walled it in. Watts had cut his teeth on tape loops in London and Hamburg, but inspired by Berlin’s fetid air and his first 8-bit sampler, Watts gave birth to PIG in 1988. A year earlier, in Hamburg, he had written and recorded the first KMFDM album and single with En Esch and Sascha Konietzko. He had also helped deliver the sonic slaughter of Einsturzende Neubauten, Psychic TV, Die Haut, and most of the Berlin and Hamburg underground, as both live and studio sound engineer, and producer.
PIG was cut from the belly of Raymond Watts with a rusty screwdriver in a basement opposite The Wall. The first squeals were committed to tape and saw the light of day as A Poke in the Eye. Wax Trax! jumped to release it.
After writing the music for the second KMFDM album, Watts then slipped away to tour with Foetus, playing keyboards and guitar. He returned to Berlin to produce, with Jim Thirlwell, the classic PIG 12-inch, Sick City. Under the name 2 Kut he made a series of 12-inch singles featuring the likes of Blixa Bargeld and Jim Thirlwell.
When The Wall collapsed, the party was over. Watts returned to London and PIG albums poured forth: Praise the Lard, A Stroll in the Pork, Shit For Brains, Red Raw & Sore and The Swining. Watts programmed, produced and performed, ploughing a lone furrow until Karl Hyde, singer and sinner with Underworld, came to his assistance on guitars.
Watts had also developed a taste for all things Japanese. His label was based there, his morals were parked there and PIG had toured there many times. He was soon involved with a highly successful bunch of ne’er-do-wells called Schaft. Their album Switchblade, and a sold-out tour, followed.
In 1994, PIG opened for NIN. This led to PIG’s Sinsation album being released on Nothing Records and then a return to Wax Trax! for Wrecked. Both albums were highly acclaimed.
Watts also rejoined KMFDM in 1994, for the PIG vs KMFDM EP Sin, Sex & Salvation. On the ensuing album Nihil Watts took over writing and vocal duties, spawning Juke Joint Jezebel, the massive crossover industrial/dance hit. Multiple remixes of Juke Joint Jezebel by Georgio Moroder took the single to a whole new audience. Many sold-out and heaving tours followed, with Watts orchestrating the chaos from centre stage like a rampant ringmaster armed only with talent and tequila.
When not on tour, Watts could be found in his Ranch Apocalypse studios in London, working on PIG’s No One Gets Out of Her Alive, Prime Evil, Disrupt Degrade & Devastate and the KMFDM albums Attak, Symbols and WW III. On the album Genuine American Monster, Watts reunited with legendary guitarist Guenter Schulz. While in Toyko, Watts gave birth to the band Schwein with the Japanese superstars Sakurai and Imai. The albums Schweinstein and Son Of Schweinstein and a sold-out tour ensued.
After releasing the PIG album Pigmartyr (Pigmata on Metropolis), Watts spent time in London indoctrinating his piglets and initiating them into the parish of pork. When not leading his children down the path of righteousness, he could be found writing music for the shows and films of Alexander McQueen, Chloe, Marios Schwab, Halston, The Row and others. He also wrote music and did sound design for Punk: Chaos to Couture, the exhibition at the Met in New York.
In the final show before his death, Alexander McQueen commissioned Watts and John Gosling, Watts’s old partner-in-crime from Psychic TV days, to embellish the serene instrumental track Inside, from PIG’s Genuine American Monster album. This became the fluid soundtrack to what is seen as McQueen’s masterpiece, Plato’s Atlantis. This show was reprise as the finale of Savage Beauty, the McQueen retrospective that broke all records at the Met in New York and the V&A in London. He also wrote other original music and did sound design for the show.
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“Prey & Obey” by PIG
01. Prey & Obey