Review: Pigs Pigs Pigs Pigs Pigs Pigs Pigs ‘Death Hilarious’
In 2023 I saw Pigs x7 with my long-term friend Jonah at The Ritz in Manchester, with support from the brilliant Bonnacons Of Doom and the Lambrini Girls. It was the third time I’d seen the band live, having previously witnessed them in Kendal and Carlisle. I’d also reviewed 2020’s Viscerals and 2023’s Land Of Sleeper for The Shaman, so to say I was a little ‘Pigs’ed out’ would be an understatement.
Following a self-imposed sabbatical from the band, I spotted Death Hilarious on the promo list and decided the time had come to embrace the Newcastle quintet once more. The band’s fifth full-length release sees frontman Matt Baty‘s emergence following a bout of writer’s block and resultant anxiety. The album also attempts to address the ‘everyone for themselves undertones of neoliberalism’ but with musical tangibility, as opposed to the clichéd ‘live, laugh, love’ self-help nonsense embraced by the majority of mainstream society.
Blockage, with its crossover thrash sound, recalls bands like D.R.I. and albums such as Four Of A Kind and Thrashzone. There are also some wonderfully fluid melodies courtesy of Messer’s Sam Grant and Adam Ian Sykes which have a NWOBHM vibe and that, in total, make for a punchy, no-nonsense start to the record. Detroit slows things down with a darker, sludgier sound, so that if the preceding track was the result of a night of methamphetamines, then this is the inevitable comedown the day after. Think Saint Vitus meets The Jesus Lizard, a brilliant track.
Collider‘s main riff is absolutely massive and one which is so infectious that it’s guaranteed to stick in your head. Both the detectable ‘70s proto-metal and southern rock charms is what makes me fall in love with it. Speaking of the ‘70s, glam rock is introduced, though less artsy and more Suzi Quatro, Sweet orientated. The promo notes also mention Motörhead and Lemmy’s spirit is present, which, with the addition of keyboards, makes for a wild-sounding combination, yet one which works!
the detectable ‘70s proto-metal and southern rock charms is what makes me fall in love with it…
The experimentation continues on Glib Tongued with El–P (Company Flow, Run The Jewels) providing guest vocals and sonically the band seem to borrow from the late ‘90s and groups such as Korn and Biohazard, the latter’s Evan Seinfeld inflections especially. Unexpected from Pigs x7 but not totally unwelcome. The Wyrm clocks in at over seven minutes, making it one of the album’s longer and more progressive tracks yet it is still packed with energy. The further injection of tasty Monster Magnet and Hawkwind style space-rock makes it all the more appealing. An absolute highlight and personal favourite.
Carousel sees Pigs x7 trademark Sabbathian doom come to the fore, hinting at a more ‘traditional’ sound, especially when compared to the three tracks it followed. This will please old-school fans of the band as opposed to the BBC 6 Music Johnny-come-latelys. Coyote Call is wonderful post Black Flag metallic hardcore punk and the kind of thing Henry Rollins would be at home singing on, ala tracks such as Slip It In and its use of backing vocals.
Toecurler has a Deliverance era Corrosion of Conformity feel and hints of stoner metal (Spliffripper, Weedeater etc). There are also tinges of blues rock, a genre Metallica attempted on Load and Reload with mixed results. While hardly the most essential track in the band’s canon, it nonetheless proves effective in closing the album.
In conclusion, I missed the variety and adventurousness offered up on Viscerals, so I’m pleased to say that Death Hilarious is a step back in the right direction. Superb.
Label: Rocket Recordings
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram
Scribed by: Reza Mills
