“The most potent riff merchants in the UK.” The Guardian
The Newcastle-based maximalists whose riffs, raw power and rancour have blazed a trail across the darker quarters of the underground in the last five years, have made a second album ‘King Of Cowards’, which does its damnedest to take consciousness to its very limits.
The period since Pigs Pigs Pigs Pigs Pigs Pigs Pigs’ Rocket Recordings 2017 debut ‘Feed The Rats’ – a mighty tsunami of rancorous riffage and unholy abjection that wowed critics and wreckheads alike – has seen the band build on their incendiary live reputation far and wide, from the sweatiest of UK fleapits to illustrious festivals like Roskilde.
Perhaps the most relentlessly head-caving outfit of an alarmingly fertile scene operating in Newcastle at present, the band have all been busying themselves in a variety of activities, with Baty running Box Records (home of underground luminaries like Lower Slaughter, Casual Nun and Terminal Cheesecake) and both himself and bassist John-Michael Hedley playing in Richard Dawson’s band.
This opus sees the band entering a new phase as a sleeker yet still more dangerous swineherd, with ex-Gnod and Queer’d Science drummer Chris Morley joining the ranks and a new approach being taken to its creation. The Iggy-esque drive to dementia, Sabbath-esque squalor and Motörhead-style dirt may still be present and correct yet the songs are leaner, the long-drawn-out riff-fests sharpened into addictive hammerblow and the nihilistic dirges of yore alchemically transformed into an uplifting and inviting barrage of hedonistic abandon.
Poster by Vincent Walden.
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