Despite the fact that Terrifyer seemed insurmountable, being one of the most highly acclaimed records of 2004, the undergrounds grind-defying darlings Pig Destroyer have yet again managed to up the ante and take their game to the next level. This daunting task was consummated through the fine-tuning of their songwriting skills, building upon more tangible structures while maintaining that uniquely menacing, schizophrenic energy that garnered them so much attention in the first place. With the addition of a "noise section, Pig Destroyer have taken their brand of violent, intimidating grind to a darker place, creating a more sinister atmosphere that while refusing to submit to radio friendly standards, is much easier to immediately latch onto. This, however, doesnt mean theyve dumbed it down. Instead, theyve focused their frequent tempo changes and dexterous shredding into sophisticated hooks that will keep this record in heavy rotation. Sceptics may have a problem with the increased number of breakdowns but rest assured, stereotypical "core manoeuvring doesnt make any appearances. An immense step forward, Phantom Limb is a dynamic record that will certainly be one of the 2007s finest. (Relapse)
How has adding a "noise section contributed to the outcome of the record and your live performances?
J.R. Hayes, vocalist: I think it creates a texture in the music that is a little more random and chaotic in that it doesnt have to lock into the rhythm like the other instruments do. It can just kind of hover above and set the mood. Plus, I feel like theres more room to experiment than there would be if we just added a bass or another guitar. We can let our Throbbing Gristle and NON influences shine through.
How does the lyrical subject matter complement your sonic aesthetic? Further, how does sampling fit into the bigger picture?
In my lyrics I try to take something thats terrible and repulsive and through language twist it up into something beautiful and surreal. Charles Baudelaire is the master of that and thats why hes the greatest poet of all time. I think it complements the music well. I mean, whats more beautifully repulsive than grindcore? The sampling thing is a work in progress, well just have to wait and see how it fits in as we write some new material. Im excited, Ive got a lot of ideas for noises and sounds that are hopefully going to add a more "cinematic feel to the songs. Its all about setting a mood.
(Relapse)How has adding a "noise section contributed to the outcome of the record and your live performances?
J.R. Hayes, vocalist: I think it creates a texture in the music that is a little more random and chaotic in that it doesnt have to lock into the rhythm like the other instruments do. It can just kind of hover above and set the mood. Plus, I feel like theres more room to experiment than there would be if we just added a bass or another guitar. We can let our Throbbing Gristle and NON influences shine through.
How does the lyrical subject matter complement your sonic aesthetic? Further, how does sampling fit into the bigger picture?
In my lyrics I try to take something thats terrible and repulsive and through language twist it up into something beautiful and surreal. Charles Baudelaire is the master of that and thats why hes the greatest poet of all time. I think it complements the music well. I mean, whats more beautifully repulsive than grindcore? The sampling thing is a work in progress, well just have to wait and see how it fits in as we write some new material. Im excited, Ive got a lot of ideas for noises and sounds that are hopefully going to add a more "cinematic feel to the songs. Its all about setting a mood.
