1) In his past lives, PIG … Read Full Bio ↴There are more than one artist named PIG.
1) In his past lives, PIG was Lord Raymond Watts, known variously as Raymond Scaballero in Foetus, an icy addition to Psychic TV, a savage PA destroyer in Einstürzende Neubauten, and a founding catalyst of KMFDM. Watts began his arrest record in London where he was most likely pissed off about something and doing sound manipulations, loops and live sound for Psychic TV. He soon crashed into Einstürzende Neubauten (probably in a strip bar) and escaped the smug complacency of the English music scene by moving to Hamburg, Germany and setting up his Building Site studio in a bunker of munitions factory, where he invited in artists including Sprung Aus Den Wolken, Die Haut, and Christiane F. In his pursuit of a cutting edge music scene he sought out like-minded souls to create terrorism instead of tonality. Playing on European/American Neubauten tours, he quickly earned a reputation for destroying PA systems -- the security guards sent by the PA companies to protect the gear were not amused. Between their security thugs and ones hired by Watts to protect him from them, most nights ended up bloody, tense and occasionally on fire.
While collaborating with Neubauten's "gritter" twins: Blixa Bargeld and FM Einheit, Watts lived in the red light district next to a brothel, in amongst the sleaze of the Hamburg docks. Watts heard about Sascha Konietzko who was doing bizarre work with vacuum cleaners, and after drinking him into submission, dragged him and his tall, pale cohort En Esch down the stairs into the freezing Building Site studio, where they locked themselves into Watts' "frozen cesspit" with 20' steel sheets and other garbage, emerging with the debut What Do You Know Deutschland?
As one of the architects of the KMFDM sound, Watts went east to plow through the entrails of the German avant garde, planting the seed of his new experiment while KMFDM moved to America. The mutant was born out of the blood and piss in a basement studio opposite the Berlin Wall and became the 1988 debut album A Poke In The Eye. In addition, Watts was recruited by Foetus (Jim Thirwell) to be in his first live band, and after a European tour which involved disappearances, catholic school girls, and worms, Thirwell stayed on the produce the 12" Shit for Brains. Watts said he'd buy the next round and went to the US to record Steroid Maximus with Thirwell, and also did sound for Crime & the City Solution.
When the wall came down, Watts split his time between London and Tokyo, looking for a new alien habitat after Berlin's pleasure dome exploded. PIG morphed with various collaborators and Watts started working with Japanese musicians, turning his attention to Schaft, which became a huge hit there. The Watts system emerged as an elastic style of working with refuse and collaborating with pariahs: one man's trash is another man's treasure, darling.
Long-time PIG fan Trent Reznor came to see him around '91/'92 at a tiny club in Camden, England and introduced himself to the unimpressed Watts who was surprised that this fellow knew most of PIG's scattered discography. PIG was invited to open Nine Inch Nails' European tour in '94 -- complete with real pig heads on stage that were a load of fun after a few days' decomposition. Later, in 1995, Reznor's Nothing label released his fourth album, Sinsation.
In the mid 1990s, Konietzko ran into Watts again and they worked on the Sin, Sex & Salvation EP, which led to Watts returning to the fold for Nihil, the most successful KMFDM album to date, which included the Watts-penned hit Juke Joint Jezebel. Watts also appeared on the band's Symbols album, doing vocals on the delightfully-titled Spit Sperm and Unfit, while KMFDM's Gunter Schulz and Sascha Konietzko appear on the 1997 release Wrecked, furthering their incestuous relationship.
Still bigger in Japan than the rest of the world, PIG released his sixth album, Genuine American Monster, there in 1999. Finally, in 2002, PIG found a new American home with the Metropolis Records label, who had that year recently released the album ATTAK.
In 2012 PIG released two demos; written by Watts; and performed by Watts and Marc Heal (Cubanate) entitled: Drugzilla (Rough As A Hog's Arse Mix) released on June 8th; Shake (Rough Mix) released on July 14th; and Drugzilla (Pork Talk Mix by Raymond Watts) released on December 2nd.
2) PIG is a Japanese melodic punk band from Japan.
http://www.audioleaf.com/piggip3/
3) pig used to be the alias of Oscar Lang when he first started releasing music in 2017. In 2019 however, he started releasing under his real name, and with that the already released pig releases were re-released under Oscar Lang.
4) Pig is a Beatmaker who became known for his '' dirty '' beats so he earned the nickname Pig which was adopted with an artistic name. Producer and Beatmaker for more than 5 years, he has accumulated several experiences in his career, with more than 15 million Streams.
1979
Pig Lyrics
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On a live wire right up off the street
You and I should meet
June bug skipping like a stone
With the headlights pointed at the dawn
We were sure we'd never see an end to it all
And I don't even care to shake these zipper blues
To dust I guess
Forgotten and absorbed into the earth below
Double cross the vacant and the bored
They're not sure just what we have in the store
Morphine city slippin' dues, down to see that
We don't even care, as restless as we are
We feel the pull in the land of a thousand guilts
And poured cement, lamented and assured
To the lights and towns below
Faster than the speed of sound
Faster than we thought we'd go, beneath the sound of hope
Justine never knew the rules
Hung down with the freaks and the ghouls
No apologies ever need be made
I know you better than you fake it, to see
And I don't even care to shake these zipper blues
And we don't know just where our bones will rest
To dust I guess
Forgotten and absorbed into the earth below
The street heats the urgency of sound
As you can see there's no one around
The lyrics to PIG's song 1979 paint a picture of youthful rebellion, carelessness and a sense of being lost. The opening lines of "Shakedown 1979, cool kids never have the time" portrays a yearning for a simpler life, where kids can be reckless and free-spirited with their whole lives ahead of them. The line "June bug skipping like a stone with the headlights pointed at the dawn" captures the fleeting moments of youth and the uncertainty of the future. The idea of being forgotten and absorbed into the earth below suggests that life is fleeting and our existence is ephemeral.
The chorus "And I don't even care to shake these zipper blues, and we don't know just where our bones will rest, to dust I guess, forgotten and absorbed into the earth below" further emphasizes this fleeting nature of life, as the character sings about not being able to shake off their anxieties and uncertainties. The lines "double cross the vacant and the bored, they're not sure just what we have in the store, morphine city slippin' dues, down to see that" suggest the feeling of being misunderstood and underestimated by society. The character feels like they have something special to offer but are not being given the chance to prove themselves.
The final lines of the song "the street heats the urgency of sound, as you can see there's no one around" leave the listener with a sense of emptiness and desolation. The urgency of sound - the noise and chaos of the world - is all that remains, with no one around to listen or care. Overall, the lyrics to PIG's song 1979 capture the complexities of youth - the hope, the uncertainty, the sense of being lost, and the fleeting nature of life.
Line by Line Meaning
Shakedown 1979, cool kids never have the time
Year 1979 was a time of complete upheaval, but the popular kids had no time to ponder over such things, they were busy being cool.
On a live wire right up off the street
We lived life with great intensity.
You and I should meet
Let's get together and talk about all this madness.
June bug skipping like a stone
We were young, bouncing around joyfully like insects in summer.
With the headlights pointed at the dawn
We were always looking forward to the future, even if we didn't know what was coming.
We were sure we'd never see an end to it all
Back then, we were convinced that the good times would keep on rolling forever.
And I don't even care to shake these zipper blues
I'm not bothered by my problems and worries anymore, they feel insignificant.
And we don't know just where our bones will rest
We have no idea what the future holds or where our final resting place might be.
To dust I guess
The end is coming for all of us, and we'll simply turn to dust.
Forgotten and absorbed into the earth below
We'll fade away, our memories and lives becoming one with the planet.
Double cross the vacant and the bored
We defy the monotony and staleness of everyday life.
They're not sure just what we have in the store
Our potential is a mystery to the world.
Morphine city slippin' dues, down to see that
We're willing to take risks and make sacrifices to get where we want to be.
We don't even care, as restless as we are
We're so restless that nothing really bothers us anymore, we're always exploring new possibilities.
We feel the pull in the land of a thousand guilts
We're always being pulled in different directions, surrounded by conflicting emotions and ideas.
And poured cement, lamented and assured
We were full of doubts, but we also had a sense of purpose.
To the lights and towns below
We set our sights high, aiming to make it big in the world one day.
Faster than the speed of sound
We were moving so fast, things were happening at a breakneck pace.
Faster than we thought we'd go, beneath the sound of hope
We surpassed our own expectations and broke boundaries, even when it seemed unlikely.
Justine never knew the rules
Justine didn't care much for following conventional norms.
Hung down with the freaks and the ghouls
She was drawn to the unconventional and those who didn't fit into the mainstream.
No apologies ever need be made
She didn't feel the need to apologize for being who she was and doing what she wanted.
I know you better than you fake it, to see
I understand you better than you might think, so you don't need to pretend around me.
The street heats the urgency of sound
Life on the streets is intense and full of energy.
As you can see there's no one around
Despite being in a crowded and busy place, you can still feel alone and isolated.
Lyrics © Warner Chappell Music, Inc.
Written by: William Patrick Corgan
Lyrics Licensed & Provided by LyricFind
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