Martin Atkins’ legendary Industrial super group Pigface have just released 6, and it’s enough to make Al Jourgensen blush. While touring with Ministry in 1989 as second drummer, Atkins and fellow drummer Bill Reiflin came up with the idea for Pigface. It would be a sort of revolving-door band, constantly in flux.
Six albums, 20 years, and a whole host of extra-curricular activities later, Pigface is back. Fittingly, Atkins has remained the only constant. Whether you know his name or not, you have probably heard his drumming, as it is one of the defining instruments of the Industrial genre.
Atkins’ first recorded appearance was on Public Image Limited’s classic Metal Box. From there he went on to bands such as Killing Joke, Ministry, Nine Inch Nails, and pretty much everyone on the Wax Trax! roster.
For lack of a better term, 6 is “classic” Industrial. Although it does not sound dated in any way, it also very much fits the format of vintage Ministry, NIN and KMFDM.
From the opening notes of “Electric Knives Club” the beats and slashing keyboard and guitar sounds are in your face. Another trademark of this music are treated vocals, which are all over 6, especially on the track “188.8.131.52.”
One of the great attributes of Industrial for me is the sense of humor. Remember “N.W.O.” by Ministry, or the version of “Supernaut” by 1,000 Homo DJ’s? 6 has a great KMFDM parody titled “KMFPF,” whose chorus goes: “Kill Mother Fucking Pig Face!” Even better is the fact that former KMFDM members En Esch and Chris Connelly play on it.
Another quintessential element of this music is addressed in the instrumental track “The Good, The Bad, And The Druggly.” And where would an honorary member of the Revolting Cocks be without a sex song? Try “Work To Come.”
Pigface’s 6 really is an all-star record, featuring a total of 35 various musicians on it’s 11 tracks. Members of My Life With The Thrill Kill Kult, Atari Teenage Riot, Revolting Cocks, Sheep On Drugs, and so many more appear here.
But what makes 6 unique is the fact that with all of this talent, it really does hold together as a consistent statement. While much of 6 feels like a romp through all the best elements of the “Golden Era” of Industrial, it still sounds fresh.Powered by Sidelines