PIG brand new video song included on available from album also includes the single What does worldwide quarantine do to our favourite porcine libertine? Raymond Watts holed up in his sty and created ‘The Merciless Light’, the new album by PIG. Ably aided and abetted by long time accomplices En Esch and Steve White, Watts also welcomes a new swine to the trough as Jim Davies (Pitchshifter/The Prodigy) adds another new level of impeccable (in)credibility and talent. ‘The Merciless Light’ seethes, swings, seduces and snarls. Extraordinary electronics and a glut of glitz, glam, guitars and grooves create a masterful mélange of mirth from our very own venerable Vicar of Vice. Today, PIG shine the spotlight on the seven deadly’s with Ed Finkler’s stunning new video for the album song ‘Speak Of Sin’. For when too much isn’t enough, this visual treat will burn your eyeballs and beat your ears as the latest of the bounteous delights to be lifted from ‘The Merciless Light’. THE MERCILESS LIGHT MUSICIANS Raymond Watts aka PIG has enjoyed a varied career since starting out as a pioneer member of the mid-1980’s industrial rock scene. He has toured with KMFDM (he was a member of the band in their early days), Nine Inch Nails and Einstürzende Neubauten, written music for fashion and film for Chloe, Marios Schwab, Halston, The Row, as well as creating the sound design for the exhibition ‘Punk: Chaos to Couture’ at the Metropolitan Museum of Art in New York. He also collaborated with the late fashion icon Alexander McQueen, who commissioned Watts (with John Gosling) to embellish the serene instrumental track ‘Inside’ (from the PIG album ‘Genuine American Monster’ album) for the soundtrack to ‘Plato’s Atlantis’. The show was reprised after McQueen’s untimely death as the finale of ‘Savage Beauty’, the posthumous retrospective that broke all records at both The Metropolitan Museum of Art and the Victoria & Albert Museum. The most recent full-length PIG studio album, ‘Pain Is God’, was released in 2020, with Metal Hammer magazine noting its “sly nods to pop and catchy melodies contrasting perfectly with Rammstein-esque purges and Mr Bungle-style jazz-isms.”
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