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Well, all of that is in here, Serial Killer Thriller - Pig - Sinsation (CD, but Raymond Watts is no doubt a fantastic artist and can utilize all the things that make industrial music what it is while adding other creative flavors.
In this album, however, those other flavors are pretty lacking. While, say, The Swining was a veritable feast of musical ideas, genres, and attitudes, along with instrumentation, this succeeding album is pretty two-sided, between eerie dungeon-esque instrumentals which are incredible by the way and loud industrial attacks; there is almost no combination of either moods which to me is a bit disappointing.
The slow and menacing Shell, the adrenaline-driven Hamstring[ When I first got this album I of course loved it, but over time there grew a nagging feeling that stopped me from really getting it, especially after getting some of Pig's earlier albums which are far more eclectic and experimental in style. Still, from me it still gets 4 stars for the great instrumentals and the few tracks that really do it for me.
I think really the main problem is I tend to forget what much of the music even sounded like once I finished listening to it, which can often really kill an album. A beautiful piece of work I must say and to think I owned it for a good two years or so before I really bothered to listen to it. I've been a KMFDM fan for a while now, and when an ex-coworker of mine found this out, he handed me Sinsation and told me to keep it.
I forgot about it. So stupid! This CD is easily one of the best modern music scores in existence; a total eye opener for me. Originally when I wrote this review inI spouted off about being reminded of film noir and Blade Runner and while I'm still reminded of those things, I think I now have a better understanding as to why. Watts employs film scoring tricks all through this album. The intro track, Serial Killer Thriller, begins with a symphonic lead-in that's meant to evoke this sense of dread much like suspense films and clue you in as to the fact that something is not right here.
It's a melting pot of sound; metal, dance, world, symphonic, noise and it all comes together as a magnificent industrial specimen. Track two, Hamstrung On The Highway, is a relentless song and it manages to capture the listener despite there being some repetitive soundbite samples. Track three, Golgotha, is one of the instrumental tracks on the album which rely on some combination of noise and symphonics. There's only three tracks like this though and one of them is track ten, an outro.
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