Sinsation

Sinsation. 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! 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 in 2002, I 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. Throughout the album there are elements like this in each song that accompany some crunching guitars, heavy bass lines, crashing symbols, mechanical/popping drums, some keys, soundbites and of course, Watts' trademark fevered vocals. 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. This, I feel, translates to Watts doing his job WELL; the samples propel the song rather than distract from it. 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. After the first two tracks my favorite cuts would have to be Paniac (track five), Volcano (track eight) and Hot Hole (track nine).I'd easily recommend this album to any fan of KMFDM but don't expect the exact same kind of song formulas here as Watts definitely has a style that's all his own. Much less emphasis on catch phrase style lyrics. In listening to Sinsation again I also caught some similarities to Pretty Hate Machine too. Six years later and this album still makes me want to drive REALLY fast and while it definitely elicits an emotional response, I feel more like skulking down dark alleys than I do getting into a fight. Maybe I'm getting old.

Taking the advice of other consumers I bought this as my introductory album to Pig. When I got it I absolutely loved it, a little guitar-heavy for me, it's a strong album musically and lyrically, unlike most industrial/metal albums that seem to try ranking up the guitars, screams, and curses. Well, all of that is in here, 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[...] and the catchy electronic-tinged Volcano are my favorite pieces, but other than those few tracks this album does not come to mind very often when I want to listen to Pig.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.

This album came out in the 90's but was lightyears ahead of it's time. I like to listen to this album and then imagining it its the soundtrack to a future post-apocalyptic road warrior movie yet to be made. Transceration(?) is one of the most moving pieces of music you'll ever hear in your life. It's a matter of time before it is appropriated in a series of war movies.

I initially bought this cd as a digital item on iTunes, and loved it. I felt like owning a physical copy, and the depth that the art work in the case adds is astounding. I would venture to say that the images in here could work as a stand alone in an art gallery. Mr. Watts's music has always been profound and profane; this album is no exception.

Great

Raymond Watts is a genius with KMFDM and then he did a darker turn with Pig. Darker in a good way, of course. Pig definetely has a more introverted, isolated, and darker atmosphere, especially with Sinsation. From start to finish, this a delight. Instrumentals are mesmerizing as well.

もうオーケストラからいきなりラジオの無線みたいの聞こえてやばいいけてるギターで始まるＨＡＭＳＴＲＵＮＧ　Ｏｎ　ＨＩＧＨＷＡＹ　なんてもうこんな曲聞きたかった～～～！て感じどぉえす！