There are more than one artist named PIG.

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.

Stage Slut
Pig Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

I've got the biggest crimes
For your twisted rhymes
I've got the fattest lines
For our dirty times

Stage slut
Tour whore
Every little hole

Is a perfect goal
Now you'd better go
To your tormented, twisted, torture show

Cut me up
Suck me up
Break me up
Take me up
Mix me up
Break me up
Throw me up
Show me up
Trip me up
Clean me up
Dry me up
Tie me up

Stage slut with a hand in the honey
Tour whore with a fist in the bunny

Stay, baby, stay
And drink with me until I'm dead
Pray, baby, pray
Prey across my big broad bed

Stage slut with a hand in the honey
Tour whore with a fist in the bunny

Cut me up
Suck me up
Break me up
Take me up
Mix me up
Break me up
Throw me up
Show me up
Trip me up
Clean me up
Dry me up
Tie me up

Stage slut with a hand in the honey
Tour whore with a fist in the bunny

Pill me up
Thrill me up
Lock me up
Beat me up
Shoot me up
Scoop me up
Hit me up
Shit me up
Slit me up
Spit me up
Turn me up
Burn me up

Stage slut with a hand in the honey
Tour whore with a fist in the bunny

Set me free

Overall Meaning

The lyrics to PIG's song Stage Slut express a desire for a wild and dirty time with a partner who can match the singer's intensity. The singer boasts about having the biggest crimes and fattest lines for their twisted rhymes, setting the tone for an experience that straddles the line between pleasure and pain. The repeated calls for cutting, sucking, breaking, taking, and other violent actions reflect a desire to push boundaries and embrace a dangerous thrill.

The references to a "stage slut" and "tour whore" suggest that this is an experience that takes place in the context of a performance, whether that be a music tour or some other kind of show. The suggestion is that the singer's partner is willing to do anything to please the audience, even if that means exploring their darkest desires. The repeated refrain of "stage slut with a hand in the honey, tour whore with a fist in the bunny" reinforces the idea of someone who is both submissive and powerful, able to take control of their pleasure and pain.

Overall, the lyrics to Stage Slut are an exploration of intense desire, pushing boundaries, and the thrill of the taboo. The language is raw and powerful, reflecting a passion that is both dangerous and alluring.

Line by Line Meaning

I've got the biggest crimes
I have done terrible things in the past, which may include illegal activities or hurting others.

For your twisted rhymes
I am offering my experiences for you to use as inspiration for your poems, which may involve dark, twisted themes or emotions.

I've got the fattest lines
I have the best, most impactful words to use in our artistic endeavors, such as songs, performances or literature.

For our dirty times
For the moments when we need to express our most taboo, vulgar or sinful thoughts, feelings or actions.

Stay, baby, stay And drink with me until I'm dead Pray, baby, pray Prey across my big broad bed
I am inviting someone to stay with me until the end of my life, to drink, to enjoy the pleasures of the flesh and the mind, and to pray, to seek salvation or forgiveness, or to worship me as a god.

Stage slut Tour whore Every little hole Is a perfect goal Now you'd better go To your tormented, twisted, torture show
I am calling myself or someone else a slut or a whore in the context of being a performer, who is willing to do anything to please the audience or to pursue success or fame. Every possible means of gratification or exploitation is acceptable, even if it hurts oneself or others. The final refrain warns the listener to go to their own show of pain, suffering, or madness, as a way of affirming their own identity or mission.

Cut me up Suck me up Break me up Take me up Mix me up Break me up Throw me up Show me up Trip me up Clean me up Dry me up Tie me up
I am enumerating a series of actions that can be done to me or by me, all of which involve some form of aggression, manipulation or fetishism, but also of pleasure, ecstasy or artistry. The verbs are deliberately short and repetitive, suggesting a kind of mantra or incantation, as well as a list of possible triggers or stimuli for the performer or the audience.

Stage slut with a hand in the honey Tour whore with a fist in the bunny
I am repeating the title of the song, which implies that the performer is like a bee or a rabbit, seeking nectar or prey wherever it can be found, regardless of morality or convention. The image of the hand in the honey suggests both sensuality and indulgence, while the fist in the bunny suggests both violence and innocence. The rhyme between honey and bunny reinforces the theme of pleasure and pain, as well as of the animalistic instinct.

Pill me up Thrill me up Lock me up Beat me up Shoot me up Scoop me up Hit me up Shit me up Slit me up Spit me up Turn me up Burn me up
I am extending the list of actions from before, adding more extreme or dangerous ones, which involve addiction, adrenaline, bondage, abuse, drugs, humiliation, defecation, cutting, choking, vomiting, sound, and fire. The repetition of the phrasal verb 'up' suggests a continuous escalation or intensification, as well as an imperative or a plea to the listener, to push the boundaries of pleasure and pain even further.

Set me free
I am expressing a desire to escape from the constraints, both physical and mental, that I am subjected to as a performer or a human being. The phrase can also be interpreted as a plea for the audience, or for the listener, to liberate themselves from their own limitations, fears or prejudices.

Contributed by Landon T. Suggest a correction in the comments below.

To comment on or correct specific content, highlight it

TRACKS