<PIG>

Introduction

[1.8.06]

The Chinese consider this to be "Year of the Dog"--but fans of industrial know better. With a new album Pigmata and website theswining.com, 2006 is shaping up to be in Year of the <PIG> instead!

Although recognized more as an erstwhile vocalist for KMFDM, Raymond Watts has had a long and productive career working with such legendary acts such as Einsturzende Neubaten, Psychic TV and Foetus. He has also been putting out albums under the moniker <PIG> since the late 80's. His penchant for innovative meldings of orchestral strings, abrasive guitarwork and brutal synthetic beats (along with depraved lyrics) have made him a primary influence in the genre. (In fact, it could be theorized that Trent Reznor's meeting of Raymond back around '91-92 might explain a radical evolution in sound between Nine Inch Nails' Pretty Hate Machine in '89 and Broken in '92.)

Personally I've been listening to the man's work ever since I picked up KMFDM's What Do You Know Deutschland? back in 1992 (although unbeknownst to me, thanks to sparse liner notes). It wasn't until Watt's fourth album Sinsation came out on Nothing Records that I became aware of his solo work--as the majority of it is out-of-print or available only via import. Needless to say, I was immediately captivated by what I heard and began a (somewhat expensive) quest to acquire the rest of <PIG>'s backcatalog.

To me, Raymond Watt's represents what is sorely lacking in not only industrial, but the music world at large: creativity. And this is despite the fact that ironically he recycles many musical and lyrical ideas across different projects and even within the confines of <PIG>. For example, Pigmata contains three such instances: "Arbor Vitate," an updated version from his Schaft side-project; "Filth Healer," a re-working of Sakurai Atsuchi's Yellow Pig track; and finally "God Rod," a new interpretation of a song he did with the supergroup Schwein. These all go beyond what could have easily been stale and tired remixes. They are transcendent, fresh and fully-realized new songs. Not many musicians can pull is this off.

Being one of my favorite artists, this was naturally an incredible thrill for me to get the opportunity to ask Raymond questions about his craft. <PIG> interviews seem pretty rare and hard to come by. Combine this with the fact that his web presence has been virtual nil, a lot of speculation has arisen concerning the state of affairs with the Lord of Lard. I tried to pull together all of the most common queries I've seen pop up regarding Mr. Watts and hopefully will put to rest a few of those rumors. So without further ado...

The Interview

[Mr Drum Machine]: Probably the most burning questions for <PIG> fans revolve around abandoning the <PIG> moniker in 2004 and redubbing your project "Watts," joining forces with Grand Recordings and releasing Pigmartyr. To start things off, let's focus on the circumstances around these events which lead to the eventual re-release of this material as a full-fledged <PIG> album dubbed Pigmata.

Considering the fact that your <PIG> project has one of the most dedicated fanbases around, paying full-import price for Japanese releases not available in the states, why did you ultimately decide to rename your project "Watts"? Granted, it seems that the tone of Pigmartyr may have been somewhat more accessible than previous <PIG> works, but in the end the aesthetic, instrumentation and lyrics were all distinctly <PIG>. Was this an attempt to gain more mainstream acceptance?

[Raymond Watts]: It was the first record I've gone through with an English label for a long time, and they said they would do a proper UK release which they failed to do. I'd figured it would be interesting to just use a different name but retain the Pig connection with the album name, Pigmartyr. They didn't really manage to distribute it or sell it properly over the internet, so when Metropolis talked to me about it, it was obvious that if it was going to be released in the US, it should be called Pig, but it was given the same title with a different spelling and a different meaning. I don't know if I regret it. At least it's worked out.

[MrDM]: Rumor has it that Sascha Koneitzko of KMFDM was set to release Pigmartyr as a fledging release under the newly-formed KMFDM Records. What factors lead you to abandon this plan and go with Grand Recordings instead? Do you regret this course of action considering the numerous complaints generated by the label's inability to deliver the product in a timely or cost-effective manner?

[RW]: At that minute, that decision had little to do with me.

[MrDM]: A year later after Metropolis picked up the rights distribute Pigmartyr stateside--what prompted you to re-entitle Pigmartyr as a <PIG> album? Obviously fans gain the benefit of the fantastic remastering job by Isaac Glendening of Cesium_137 and three bonus tracks--but what's the rest of the story?

[RW]: (see 1)

[MrDM]: Two of Pigmata's bonus tracks will seem quite familiar to diehard <PIG> fans as they are reworkings of previous songs; "God Rod" is a reinterpretation of "Crown" from your Schwein days and "Filth Healer" is a new take on Sakurai Atsushi's "Yellow Pig." Were these songs, along with "On The Slaughterfront" leftovers planned for a subsequent release or were they done specifically for Pigmata as a purchasing incentive for those who already own Pigmartyr?

[RW]: Of course they were done with a mind to release them for the new record.

[MrDM]: It's no secret that throughout the <PIG> discography that musical and lyrical ideas have been recycled and reworked repeatedly. What would you say to detractors who say this displays a lack of creativity? Do you find it artistically challenging and rewarding to approach the same idea from different directions?

[RW]: Without getting too arty about it, it's sometimes just re-arranging the furniture in the room, or going up into the attic and putting up a picture you'd forgotten about. There are some inherent building blocks that it's fun to put in a different structure. If people notice that, then it's kind of a nod to the people who know the old stuff and are hearing the newer stuff. It's kind of like leaving a paper trail that refers back to different elements in a different light.

[MrDM]: From reactions I've read on various messageboards, many people seem very excited over the quality of Pigmata and their interest in the band has been in many cases rekindled. Does the release of Pigmata mean that the entity known as <PIG> will continue into the future? Any idea when we might be able to expect a new album's worth of material?

[RW]: Yes. Pig is continuing. But I'm not going to announce any release dates as yet. It's far too early in this stage. There's no point in doing something just because people are calling out for it. This isn't a factory like some bands. When it's cooked, I'll open the oven.

Technology and the Future

[MrDM]: Some time ago on The Sick City messageboards, it was suggested that the material from all of the Japanese EPs would be collected onto a single CD and made available in the states. Many are also interested in seeing a proper collection for the Pig Orchestra tracks that have been released over the course of the last few years. Do you anticipate that either of these albums would be something that Metropolis would be interesting in releasing?

[RW]: I don't care about which labels would be interested, but from a legal point of view, the Japanese projects are too legally bound up because they're with majors and they move as fast as dinosaurs. With regards to collecting the Pig Orch stuff, that's something that's on the back burner. And it's getting a little warm.

[MrDM]: You've released a few videos over the years for songs such as The Fountain Of Miracles, The Seven Veils, Painiac and others. The demand for bootlegged copies of these is extremely high. Since DVDs have become a relatively inexpensive and lucrative enterprise for many bands these days, do you think there is any chance we could see a <PIG> DVD with all of your collected music videos and archival interviews or concert footage?

[RW]: Each video has been done with a different label, financed by a different label, and with regards to the licensing, it's quite a hassle. Fairly unlikely.

[MrDM]: <PIG> uses a lot electronic elements, but rarely are the songs ever purely so; inevitably, organic instrumentation such as guitar and bass enter into the mix as well. Are you most comfortable mixing and melding disparate types of music together? Have you ever been tempted to go strictly in an all-synth or all string approach?

[RW]: I have done stuff like that. There are certain tracks that are only one or the other. There are a couple of purely synthetic tracks or tracks done with purely treated guitars. There are three tracks which were just me playing guitars, and some just synthetic.

[MrDM]: Does your utilization of technology in making music cross over into other aspects of your life? Do you find things such as the internet and e-mail necessary to your everyday existence?

[RW]: Ha. No.

[MrDM]: Continuing with this theme, it appears you are expanding your web presence with the addition of a <PIG> myspace page and what we can only assume is a homepage at www.theswining.com. Can you give us any insight into what future plans you have in this direction? Do you still plan to contribute to The Sick City site and perhaps make an appearance on the messageboards?

[RW]: theswining.com - obviously there are reasons for its creation. It's a useful conduit for future projects, info, news, merch, whatever. Additionally, it's a good place to archive stuff that you've never seen, and gather it all under one roof. As for posting in or ignoring the Sick City, I don't really plan like that. I've never been that hands on with it, but my original idea for it was for it to be a community of several projects because at the time a pure Pig site seemed ridiculous. But now, the Sick City is a broad church, but The Swining is the sacrificial altar of all things Pig.

Art and Collaborations

[MrDM]: You have used the photography of Stephen Lovell-Davis extensively in your album artwork. Often, the effect is shocking or grotesque--and interestingly, it often involves you! What about his work do you feel represents the <PIG> aesthetic?

[RW]: I give him pretty much complete freedom and his approach to creating the artwork seems to resonate somehow with my approach to creating music in as much as he will take certain images and distort them to look grotesque and juxtapose that with completely disparate visual images to create a new element. Making the grotesque beautiful, and the beautiful grotesque.

[MrDM]: Over past two to three years you've been involved with groups such a Schwein, Schaft, Haloblack and KMFDM. Do you prefer the collaborative process of working with other groups, or do you find you are most at 'home' when working on a record you have full control of?

[RW]: Those projects were like a creative holiday for me and would allow a fresh perspective on my own work when I went back. Put a bit of gas in the tank for Pig, which of course is essentially, me.

[MrDM]: During the 1980's you were a live musician for Jim Thirlwell in his avant garde Foetus heyday. Did that early involvement shape or influence your early conception of what <PIG> has come to be?

[RW]: I was hugely influenced by him, and I'm a great admirer of his work. Because of the pressure he put on boundaries of music and art.

[MrDM]: It seems that historically you've had the most success "moving units" over in Japan. What is it, do you believe, about the musical culture or climate there that is more conducive to selling records with your style of music? Do you feel the Japanese have a greater appreciation or tolerance for music which is experimental or takes chances artistically?

[RW]: Yeah.

[MrDM]: Much of your lyrics touch on controversial subject matter such as sex, religion, drugs and violence. What is it about these topics that you find so inspirational in making your music?

[RW]: What's controversial about sex? Religion seems to be controversial without any input from me. We've all touched the occassional narco-dollar. Violence sews them all together.

[MrDM]: You've collaborated with many historical industrial bands such as Einsturzende Neubauten, Foetus and Psychic TV. Are there any up-and-coming artists out there today that you could see yourself working with? Do you see yourself eventually putting together a new band to perform Pig material live?

[RW]: I haven't seen any green shoots yet, I don't know. Nothing has jumped up and grabbed me around the throat recently. As for the live band, not as yet, no.

Raymond, The Human Being

[MrDM]: Without going into detail, it seems the last few years have been tumultuous for you. Where do you see yourself spiritually at this point in your life? Do you feel like you've finally conquered your demons?

[RW]: (laughs) Next.

[MrDM]: What does Raymond Watts do when he isn't working on something music-related? Are you a homebody or a socialite? Do you have any other interests or hobbies that occupy your time?

[RW]: I'm in the midst of a trial separation from my more sordid pastimes.

[MrDM]: Finally, are there any misconceptions or rumors about yourself that you'd like to "set the record straight" about?

[RW]: It really doesn't worry me what people think I've been doing. I don't need to set the record straight for anybody. I don't hold myself accountable to anybody but myself. I don't release records to please anybody else. It isn't important to me to address misconceptions.

Thank you very much, it's been nice, virtually talking to you.

Your comments were very sweet, very kind and most appreciated. Thanks for your encouragement.