Wrecked

Tracklisting

Details/Trivia:

Wrecked is a 1996 album released by Raymond Watts (as PIG). Wrecked was originally released in Japan in 1996, and was later released in the United States on September 16, 1997 by Wax Trax/TVT Records. Each release is different, with different track run times, as well as different tracks present. A promotional video for ‘Everything’ exists, but remains unreleased outside Japan.

Versions:

Reviews/Blurbs:

All Music Guide

“Pig has gone through many forms in its lifespan. Being the brainchild of Raymond Watts, who has worked with fellow industrial rockers KMFDM and produced for Psychic TV and Einstürzende Neubauten, he has built up quite a collection of musical influences and inspirations. It shows on Wrecked. Expanding on the guitar driven sound experimented with on Sinsation, Watts has created an album that has a much more professional, faster, and harder sound than the earlier one. With the use of grinding synth lines, fast and crunchy guitars (courtesy of Gunter Schulz from KMFDM), and sampling (ranging from epic sounding orchestration on “No One Gets Out of Her Alive” and “My Sanctuary” to insects and machines on “Everything” and “F.F.F”), Wrecked is a powerful and violent album. It may also make Trent Reznor of Nine Inch Nails a bit jealous. Chaotic in nature, Watts’ structures range from the utter nihilism of “The Only Good One’s a Dead One” to the melodious string-laden “Save Me” (a song of words left unsaid in the game of love…or lust as Watts might have it). Wrecked is truly a powerful and enchanting album that proves industrial music is very much alive and well.”
-Alan Escher, All Music Guide

Amazon users

“This is the first CD from Pig that I was introduced to, and in my opinion, it happens to be his best. After listening to every track – and I do mean every track…this is one of those CDs that can spin through my CD player all day without me getting tired of it – I was prompted to set out and attempt to buy as much Pig merchandise as I could get my hands on. I’ve read from several people that they don’t understand why Raymond Watts isn’t big here in America, and honestly, I don’t know why either. Although you couldn’t fit him in with Trent Reznor’s *current* style of music, you could definitely fit Wrecked in with The Downward Spiral in terms of tormented vocals, amazingly diverse lyrics (check out Sanctuary if you get the chance), and wonderful usage of layered electronics altogether. Even though he’s popular in Japan, he deserves a lot more recognition in the states.

If Wrecked just so happens to be your first taste of the Lard as well, I suggest venturing over to Genuine American Monster and Sinsation next. If you’re unsure whether this CD is worth the buy or even the listen, I strongly recommend three of the end tracks, Blades (Slash Mix), Find It F. It Forget It (Sump Mix), and Sanctuary (Spent Sperm Mix) to aid in turning your ear to one of the greatest industrial artists out there. ”
Wesley A. Mcbryde

“If Raymond Watts had to have a highlight reel, this would be on it. That’s because this was one of the albums where he had true freedom to play with his music, and where he had budgetary funderlands to keep him flying high in the sky. This is not to diminish the earlier works he put out under Pig like sinsation, Praise the Lard, a Pig in the Poke, some Prime Evil, and much more, or to say that he didn’t give KMFDM something they have been needing without him. This is simply to praise the Pig that was really amazing when it was free to do what it wanted to do. When you listen to the album you will hear soundbites, pieces of beautiful music, and orchestras playing just for build. You will also get some dark qualities, a bit of love and a bit of jilted paradise, and so much more. I love this album – i loved it enough to follow Pig on quite a bit of its US tour.

If you need some magic, check out Blades or No one gets out of her alive. In them he basically says that he knows what the cost is of something but he takes it by the hand anyhow, and the sounds that power them are grand things. In blades, you have knives making up a cresendo of slices until they form a beat and, in No One, you have a powerful beat and a little bit of a “firend of the devil is a friend of mine.” It is good stuff and is only a smapling, as the rest of the album can attest to. Go to the back of the album and you will find an orchestra playing, and the way they do things is amazing. Still, this is typical of Raymond Watts and that voice that powers through the mire of the audio mirror, making him sound like he squeals and longs all in the same moment. I love it like it loves me.

If you need more convincing, just listen to some of the sounds out there. Still, do not take a snippet for a song and do not think that a song makes an album. This is a complete work, a great work, and one that I have always thought was underrated and too often ignored. Buy it and try it on a few times because, in the end, you will love it. It has a sound all its own and goes beyond what one would think depravity could muster in tiny little lines. Combine that with a frontman that is nice enough to treat his fans like people and you have a band that is well worth supporting. Highly recommended.”
T(to the)B(to the)S

Liner Notes

Victor:
Produced and mixed at Ranch Apocalypse by Raymond Watts
Vocals and programming – Raymond Watts
Guitars and Programming – Steve White

Additional Personnel:
Günter Schulz – Guitars
Rob Henry – Programming
Jennie Bellestar – Backing vox
Ruth McArdle – Backing vox
Lian Warmington – Backing vox
Julian Beeston – Programming
James Reynolds – Additional engineering
Ben Drakeford – Additional engineering
Giles Littlefield – Additional programming

Art direction – Michael Coulson
Photography and scan images – Stephen Lovell-Davis
Design – Tony Stiles
Image Manipulation – Dan Blore
Bodies – Raymond Watts, Zoë Stevenson, Lovell-Davis & Amy Robins

Music and words written by Raymond Watts
Except “Wrecked” music by Raymond Watts and Steve White
And “Everything” music by Raymond Watts and Santos De Dastro

Thanks to all at The Fortress, Yoshi and Yoshi, Sow, Inner Directs, Mark Stent, Nigel Fogden, Jon Caffery, Mike Watts & ESP

Wax Trax!:
Produced and mixed at Ranch Apocalypse by Raymond Watts
Except “No One Gets Out Of Her Alive” & “Contempt”
Additional recording at Landmark Studios Yokohama &
Additional production & mix with Sascha Konietzko & Chris Sheppard at Bad Animals Seattle
Vocals and programming – Raymond Watts
Guitars and programming – Steve White

Additional Personnel:
Sakurai Atsushi – Vocals on “No One…” & “Contempt”
Imai Hisashi – Guitars on “No One…” & “Contempt”
Günter Schulz – Guitars
Rob Henry – Programming
Jennie Bellestar – Backing vox
Ruth McArdle – Backing vox
Lian Warmington – Backing vox
Julian Beeston – Programming
Sugiyama Yuji – Engineer at Landmark Studios
Sam Hofstedt – Assistant engineer at Bad Animals
James Reynolds – Additional engineering
Ben Drakeford – Additional engineering
Giles Littlefield – Additional programming

Art direction – Michael Coulson
Photography and scan images – Stephen Lovell-Davis
Design – Stephen Lovell-Davis, Michael Coulson & Tony Stiles
Image manipulation – Tony Stiles & Dan Blore
Bodies – Raymond Watts, Zoë Stevenson, Lovell-Davis & Amy Robins

Music and words written by Raymond Watts
Except “Wrecked”, “No One…” & “Contempt” music by Raymond Watts and Steve White
And “Everything” music by Raymond Watts and Santos De Dastro
Sakurai Atsushi and Imai Hisashi appear courtesy of Mercury Music Ent. Co. Ltd.
All songs (c) 1997 KMFDM Enterprises US

Thanks to all at The Fortress, Yoshi and Yoshi, Sow, Inner Directs, Mark Stent, Nigel Fogden, Jon Caffery, Mike Watts & ESP & Louise Caldwell