Album Review: King of Cowards by Pigs Pigs Pigs Pigs Pigs Pigs Pigs

Well, aren't we being spoiled? Only last year we were gifted the treat that was Feed the Rats from Newcastle's porcine purveyors of quality heavy psych rock Pigs Pigs Pigs Pigs Pigs Pigs Pigs, and already another delectable feast is served. Whereas the gestation period for their first record was relatively lengthy, the making of King of Cowards was a speedier process. The band wrote the songs while touring in Italy, returning to the UK to record the album, and the new concentrated approach is certainly evident in the resulting material.

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Now, with four of six tunes stacking up to over 6 minutes each, time doesn't exactly pass by in a pinch on King of Cowards, but 2017's Feed The Rats, with its lumbering bookend tracks clocking in at around 20 minutes apiece, was in desperate need of the scalpel. Spread across fewer, gnarlier parts, King of Cowards adds up to a stronger statement from a good-time band, simply because there's more of what counts: riffs. But this good-time band has a guilty conscience.

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It's been heartening to see Pigs Pigs Pigs Pigs Pigs Pigs Pigs become as successful as they have since they released their debut Feed The Rats at the start of last year. When their name first started appearing on line-ups, for most they were notable merely for their moniker - "a joke that's gone a bit too far", as frontman Matt Baty told us in 2017. The power of their live performances, however, coupled with their debut's joyously relentless pummelling means that they soon transcended the novelty status that their name might imply.

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P igsx7's is a world of downtuned doom in which no riff is too monolithic, no chord progression too bludgeoning. They sound as if they should be caught between the conflicting urges to hit a massive bong or go out on choppers. In fact, they're a perfectly unbikery-looking quintet from Newcastle upon Tyne, longtime participants in that city's music scene (two of them play live with the brilliant Richard Dawson) who have suddenly and unexpectedly broken the surface with this project, in which 70s heavy metal is played both straight and as some kind of art project.

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