Raymond Watts of Interview – by Mark Williams for MK ULTRA Magazine

Raymond Watts (also known by his former stage names Nainz, Nainz Watts and Ray Scaballero) is an English musician, the founding and sole member of the post-industrial music project PIG, sometimes written as <PIG>.

Watts was an early member and periodic collaborator of KMFDM, and has been a visible part of the industrial music scene since the early 1980s. He has toured with KMFDM, Nine Inch NailsSchaftSchwein, and Einstürzende Neubauten.

Q1 – Reading through your biography I’ve noticed that you have a strong background in audio engineering from touring as a sound engineer with Einstürzende Neubauten to composition and production to video games and fashion shows. How does your engineering and production experience influence the way that you work on other artists materials and projects and what do you take from those experiences to your own material?

In the 80’s I used to work a lot with others bands, who would mainly be described as left field or experimental artists, and this was definitely in the analogue era. The main difference was the sheer amount of intense labour that went into all that! Cutting tape loops, editing quarter inch tape a with a razor blade for hours and hours. Oh the backache!! What I brought away from that is that having less studio stuff at the flick of your finger meant pushing the envelope much further with what you did have. So I try and keep an approach where I’ll push the boundaries with the sounds I have and keep the imperfections.


Engineering and production is also a craft that one gets more accomplished at the more you do. The downside to that is that you can start taking out too much dirt and the rough edges where the interesting stuff is. For example autotune is something I never use on vocals and I still let myself play guitar to keep things really rough! When I have Steve White or Guenter Schulz, who are such brilliant guitarists on a track, I need to put some of my disheveled guitars on just to broaden the sonic palette.


In short, when working with other people I keep an overview and that’s what I try do with my stuff and not get lost in the detail.

Q2 – You’ve made releases specifically for other countries, Japan as an example. How do you approach preparing a release for a specific country as opposed to a global release? Does making an album for a specific country change or influence your writing or production style?

The fact that I’ve had specific releases for Japan, The U.S. and Europe is more to do with contractual stuff and I often just add different songs to track listings just to keep it interesting. PIG has always been an almost willfully obscure project and having different versions of albums isn’t because I think ‘oh this song will suit American tastes’ but because I have a lot of songs to put out and it makes the catalogue a bit more interesting (and infuriating for some!)

Q3 – Listening to your new album Pain is God, which is amazing and the production is extremely tight and well balanced, I can hear the influence that you’ve had on other groups that you’ve worked with. Did you handle all engineering and writing on Pain Is God yourself?

Thanks for the kind words and I’m glad you like it. I produced it and mixed it, and wrote all the words and most of the songs with a couple of co-writes with Eden who did Pigmata with me and the covers album Candy (which he produced and mixed beautifully). Seed of Evil is a co-write with the wonderful John Fryer.


I’m lucky enough to work with really talented musicians who bring textures that open doors to whole new places in the songs. So even although I’ve written most of the material, the performances from the musicians (Esch, Eden, White, Schulz, Grey, Martinez, Heal and Tomasso) bring a language that articulate the songs in a way I can’t.

Q4 – Can you tell us about the writing and production process for the album? How did the pandemic change your approach or process for writing and recording the album?

I’d just finished a UK tour with 3 Teeth in early February and was back in the studio going into serious labour with the album when the pandemic really took hold. Outwardly things didn’t change much with regard to my work because it was just me holed up in a little studio making a filthy noise. The people I was working with are all over the planet anyway, En Esch’s in Berlin, Steve White’s in Seattle, Michelle’s in Australia and Sasha Grey’s in L.A. so we were sending files anyway. I had talked to Lex from 3 Teeth about possibly doing a fall tour in the U.S. meaning a September release, but when it very quickly became apparent no one would be touring I slowed the production process down to go for a November release giving me a bit more time to try different things.


The album isn’t about the pandemic, despite some of the lyrical themes. It has however seeped into its skin and bones, and certainly the cover art, but that’s also a metaphor for the religious zeal with which we worship and feed our self destructive nature.

Q5 – The cover for Pain Is God has a look similar to a confessional. What were your thoughts on designing the cover or was that left in the hands of the cover artist?

The design is the work of Vlad McNeally, I love his work as much as I love working with him. For this one, I talked to him about referencing the cover of the PIG album Wrecked and my ideas for my beaten up appearance. Vlad brought the confessional element to it, and that itself references the second PIG 12” called Sick City which featured art of a fucked up priest sucking up the sins and others for his own self gratification. Anyway, we brainstorm a bit but then it’s all up to him. Obviously there’s a little bit of me interfering but generally that relationship is fairly typical of how I work with everyone in the PIG camp. There are lots of people all bringing different skill sets into the trenches of PIG. Gabriel Edvy who directs and edits so many videos, visuals and photos. Jarred Everson who does three dimensional art and animations, Luke Dangler who’s also played guitar live with PIG does miraculous manipulations and recently one of my oldest friends Mark Griffiths (who I made a cassette magazine with in 1982!) has been doing a whole series of video snippets of the songs on Pain is God. There are a lot of great people who put their own individual boot into, and on, the many legged beast that is PIG … My approach nowadays is to discuss the themes I’m exploring, then stand well back and see where they go with them!

Q6 – I can see from the variety of mixes you have on this album (Mobocracy, Seed of Evil, Hell to Pay, Sex_& Death) that there could be alternate mixes to these songs. Do you plan to release other mixes as a group or individually per song/single release? I was always a big fan of the 12” mix with multiple versions/mixes (or Maxi Single). Would you ever consider something like that again or do you see that as a thing of the past?

Several of the songs on Pain is God were available in a less developed form on strictly limited CD’s that are part of the PIG VIP package when I’ve been on tour. A couple have been available already as remixes on the Sex & Death 12” vinyl (remixed by Front Line Assembly and KMFDM), so yes I am again a believer that good remixes are worth releasing. However towards the end of the 90’s I completely lost interest in the remix as an art form as most of them sounded like a dead horse being flogged.


Recently though I’ve had fabulous remixes and reinterpretations done which has reanimated my interest in the form. So much so that we did two versions of the remix CD for the Risen album, Stripped & Whipped and Stripped & Ripped.


I already have some sublime remixes delivered of the Pain is God material for a forthcoming release.

Q7 – We’ve all seen a wide range of online performances from drunken housewives on their porch with acoustic guitars to full blown theatrical stage performances in empty clubs the last 6 months. What’s your perspective or thought on live performance for Pain is God?

Pain is God needs a brutally bitchin’ bad ass band and a fucking big PA to be heard live. I won’t be performing from home. As I mentioned earlier we’ve been making video teasers for each song from Pain is God, 14 for the CD and 16 for the vinyl. All collected together it makes for a little mini tour around the album and a visual treat for the eyes. They’re all the on the PIG band official channel on youtube. Endure and enjoy.

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LA supergroup Beauty in Chaos presents ‘Temple of Desire (Box Cutter Mix)’ by Tyler Bates New ‘Out Of Chaos Comes…’ LP involves Tim Palmer, John Fryer, MGT & members of The Cure, Marilyn Manson, The Mission

I have now remixed 2 versions of the wonderful Beauty In Chaos song ‘The Delicate Balance Of All Things’ – one with Wayne and the other with Wayne’s wife Cinthya. It’s a strong composition and works very well with a male and female perspective and performance. The versions are very different. I always jump at the chance of working with a Hussey. Either one of them!” ~ Tim Palmer

“First of all I was pissed at Michael for not asking me to play on his album but then I forgave him when he asked me to do a remix and with the incredible Kat Leon on vocals, how could I say no? He wanted to tell me the chords and the structure and I was like fuck that all I need are the vocals hahahahaha! and at the end just for him I played a Moog guitar solo. It took me a lot longer than usual as I really wanted this ‘Stranger’ remix to be special as Michael is a very good and long-time friend and I love his passion for music and this Beauty In Chaos project” ~ Roger O’Donnell (The Cure)

“So I wanted to give it more dynamics and a more cinematic noir SiFi dimension. I really like the vocals and words but wanted to wrap in a different world, time and space and make it very John Fryer Black Needle Noise-esq” ~ John Fryer (Producer / Black Needle Noise)

Los Angeles-based alt rock / post-punk collective Beauty in Chaos presents ‘Temple of Desire (Box Cutter Mix)’, created by film composer Tyler Bates (and former Marilyn Manson lead guitarist) and featuring Rafe Pearlman on vocals. This is the second single from the new BIC remix-based release ‘Out Of Chaos Comes…’, released this Halloween on vinyl, CD and digitally via 33.3 Music Collective.

The ‘Box Cutter’ remix takes the song in a more condensed and esoteric direction, while the video offers an introspective, behind-the-scenes look. Tyler Bates, who also scored the music for Guardians Of The Galaxy, John Wick and The Watchmen (among other films), notes,”Music is very personal to me, so it’s rare that I remix or re-imagine another artist’s music. But after decades of sharing our musical experiences through friendship, I was thrilled when Michael urged me to create a new expression of ‘Temple of Desire’ that is truly my own. The original song is already amazing, so the bar was a high mark to reach, but Rafe Pearlman’s evocative lyrics and soulful vocal performance inspired me to explore a new dimension for this track. I love both versions!”

Beauty in Chaos is curated by guitarist Michael Ciravolo, who also happens to be President of Schecter Guitars. With the original version found on ‘The Storm Before The Calm’ LP, this version also features producer Michael Rozon (Ministry) on keys and Gil Sharone (Marilyn Manson) on drums. Directed by Vicente Cordero of Industrialism Films, this video was filmed on location at Tyler Bates’ Abattoir Studio in Studio City, CA.

“I always strive so that each of our videos has a different look and feel.  I love the simplicity of this video, which is further accented by Vicente’s use of black & white.  It is certainly the polar opposite of our last video ‘A Kind Cruelty’ (The Sinistrality Mix)’, says Michael Ciravolo.

“I’ve known Tyler since his days in Pet and  he quickly became one of my best friends.  Along with BIC producer Michael Rozon, Tyler is one of the best all-around musicians I know.  It has been a joy to watch him become one of the biggest composers in film and television.  I give them both all the credit of introducing Rafe Pearlman to our BIC Family.  I didn’t know what to expect from Rafe in this video as a performer, but he proved to be quite expressive and engaging.  I think this video captures an element of fun in making music.  Hell, even the name of the remix is a bit of an inside joke! About the next video, it will be out before the holidays and the pendulum will swing 180!”

On the ‘Out of Chaos Comes…’ LP, BIC turns the creative reins over to an extremely talented cast of producers, artists and DJs, including Tim Palmer (The Mission, U2, David Bowie), John Fryer (Cocteau Twins, HIM, Depeche Mode), The Cure’s Roger O’Donnell, EDM star Bentley Jones, and Marilyn Manson guitarist Paul Wiley.

Earlier, Beauty in Chaos previewed Tim Palmer‘s ‘A Kind Cruelty’ (The Sinistrality Mix)’, featuring Curse Mackey (Pigface, My Life With The Thrill Kill Kult, Evil Mothers) on vocals and an appearance by guitarist Simon Hinkler (The Mission).

The full 27-track collection (available on CD) is deep and diverse and includes a few surprises. Ashton Nyte’s gorgeous acoustic version of ‘The Outside’Cinthya Hussey (whose beautiful painting also graces the cover) does a beautiful rendition of ‘The Delicate Balance Of All Things’, and an acoustic/mellotron drenched ‘Memory Of Love’ from Human Drama’s Johnny Indovina.  You will even find some new and fantastic guitar moments from The Mission’s Simon HinklerRichard Fortus (Guns N’ Roses), Mark Gemini Thwaite (Peter Murphy. The WonderStuff) and Nick Johnston.

‘Out Of Chaos Comes… is now available on vinyl (8 tracks), CD (14 tracks) and digitally (27 tracks). The full digital version is included with an LP / CD purchase. Limited-edition colored vinyl also includes an exclusive cover-art poster, signed by the many of the artists involved. It can be ordered in its various formats at www.beautyinchaosmusic.com/music-store

VIDEO CREDITS
Rafe Pearlman: vocals
Michael Ciravolo: guitar
Tyler Bates: guitar, synth, guitarviol
Tish Ciravolo: bass
Gil Sharone: drums
Video directed by Vicente Cordero / Industrialism Films
Single remix created by Tyler Bates
Song written by R. Pearlman / M. Rozon / M. Ciravolo

TRACK LIST (VINYL)
01.  The Delicate Balance of All Things (Plague Dodger Mix) ft. WAYNE HUSSEY / created by TIM PALMER
02.  Temple Of Desire (Box Cutter Mix) ft. RAFE PEARLMAN  / created by TYLER BATES
03.  Stranger (Domin8mix) ft. KAT LEON  / created by JOHN FRYER
04.  A Kind Cruelty (She-Devil Mix) ft. CURSE MACKEY / created by MGT
05.  The Outside  (Acoustic Version) ft. ASHTON NYTE / created by ASHTON NYTE
06.  Stranger (Gloss Tension Mix) ft. KAT LEON  / created by PAUL WILEY
07.  A Kind Cruelty (The Sinistrality Mix) ft. CURSE MACKEY / created by TIM PALMER
08.  The Delicate Balance of All Things (Equipoise Mix) ft. CINTHYA HUSSEY / created by Michael Rozon and Michael Ciravolo with WAYNE HUSSEY
09.  Almost Pure (Purist Of The Pure Mix) ft. STEVEN SEIBOLD / created by MICHAEL ROZON and MICHAEL CIRAVOLO with KEVIN KIPNIS
10.  Stranger  (Everyone Dies Mix) ft. KAT LEON  / created by ROGER O’DONNELL
11.  The Outside (Isolation Mix) ft. ASHTON NYTE  / created by TIM PALMER
12.  Stranger (Cruel World Mix) ft. KAT LEON  / created by NICK PEREZ
13.  The Outside  (Street Mix) ft. ASHTON NYTE  / created by ROMAN MARISAK
14.  The Delicate Balance of All Things (Rapid Reiteration Mix) ft. CINTHYA HUSSEY /

Keep up with Beauty in Chaos
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NEW SINGLE FROM LUDOVICO TECHNIQUE

Ludovico Technique are about to release their long awaited single “Live As Myself,” their first new material since the riveting  “Absence” dropped in late 2017. “Live As Myself,” brings forth a simple yet potent message about the power of expression even in the face of the trying times of today. Mastered by Grammy award nominee Stuart Hawkes (Amy Winehouse, Lorde, Ed Sheeran, etc), “Live As Myself,” is Ludovico Technique’s own raw expression of what a merger of Goth, Industrial and Metal can be. This is the first in a series of singles that offers a taste of LT’s eagerly anticipated full-length album entitled “HAUNTED PEOPLE” will feature upon its eventual release.

“Live As Myself,” is available via all digital and streaming platforms:

https://hypeddit.com/link/ps2qbn

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Pig – Pain is God release date Nov 20th, 2020 on Metropolis

Pain is God, the new studio album from Pig is set for release on Metropolis Records on November 20th. It’s the 12th full length release from Pig to date (not including a massive list of EP’s and more than impressive collaborations). Odds are if you’ve ever been on the dance floor in a dark club anywhere on the planet, you’ve heard a Pig song or Raymond Watts collaboration. Pain is God is the evolution of Watts signature sound. It’s instantly recognizable, yet a giant step forward in its craftsmanship. The groove and production makes it an instant must for every DJ and dance floor. Each song transitions seamlessly between synth and guitar. The title track, Pain is God, kicks off the album unapologetically with a synth groove that gives way to a full chorus with thick vocals and heavy guitar. The horns groove and swing of Badland has a nasty shuffle reminiscent of a post-apocalyptic speakeasy. Hell to Pay in the USA, Cursed and Rock & Roll Refugee have big rock almost anthemic sounds to them. Pig grooves into the more sinister sexual side on tracks like Confession and Drugged Dangerous Damned.


The engineering and mix on Pain is God is nothing short of incredible. The overall soundscape of ranges from sexual sinister to grandiose, loud and bold. Pain is God delivers on a set of headphones through to a massive sound system on the dancefloor. I look forward to hearing this album again and again. Mark Williams for MK ULTRA Magazine

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Electronic/Alternative Band MAN1K1N Unleash Into The Wounds

Electronic/Alternative band MAN1K1N has announced the release of their new EP, Into The Wounds.  The visualizer for the track “Wounds (Big Time Kill Remix)” made its debut at ReGen Magazine

Come the end of October 2020, we bring you Into The Wounds.

“Into The Void” is the self-deprecating dance of religiously aspiring to an “ideal” you know you can’t achieve, while joylessly slaving to a trend pretending you can. It’s a tongue in cheek suicide of the self. “

“Wounds (Big Time Kill Remix)” This bonus track is brought to you by our good friends in Big Time Kill (Glitch Mode Recordings.) They reimagined one of our previous releases “Now Your Wounds Are Getting Larger,” we can say with confidence that this rendition of the track is it’s own animal and far from a standard club remix.”


MAN1K1N is an electronic alternative band hailing from Boston, MA. founded by singer Johnny Veil and drummer Cristian Carver (CARV.R, Bella Morte). Their sound is heavy in its slow intensity and visceral with a groove when it needs to be. Unapologetically confrontational is MAN1K1N’s sonic dialogue and their stage presence is no different, if not more. 

https://man1k1n.bandcamp.com/

https://www.facebook.com/MAN1K1N

https://www.youtube.com/channel/UCFmVtSaxEFJJrUm3MGLFx0Q

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CLEOPATRA TO RELEASE LEÆTHER STRIP: THE ZOTH OMMOG YEARS 1989-1999

Cleopatra Records has just announced the forthcoming release of LEÆTHER STRIP: THE ZOTH OMMOG YEARS 1989-1999, a massive boxed set featuring 10 individually packaged CDs with original artwork and rare bonus material. This limited edition collection showcases the extraordinary output of projects helmed by industrial mastermind CLAUS LARSEN during his prolific decade at the pioneering German label Zoth Ommog with both Leæther Strip and Klute. This deluxe clamshell boxed collection, two years in the making, boasts 148 tracks along with a 16-page booklet filled with rare photos as well as extensively researched discographies and informative liner notes produced by Athan Maroulis (Spahn Ranch, Executive Slacks, NØIR). This set is available now for pre-order through Cleopatra Records and officially streets on December 4th where it will also be available via all digital and streaming platforms.

https://leaetherstrip.bandcamp.com/album/the-zoth-ommog-years-1989-1999

https://cleorecs.com/store/shop/leaether-strip-the-zoth-ommog-years-1989-1999-10-cd-box-set/

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