Review: Pig Destroyer, "Head Cage"

Pig Destroyer- “Head Cage”
​Stream the LP here. Buy it here.

Pig Destroyer. What’s not to say about them? After a rocky debut LP with Explosions in Ward 6, these guys put out three of the most celebrated grindcore LPs in history: the beautifully grotesque Prowler in the Yard, Terrifyer, and Phantom Limb. These three LPs are nothing short of absolute genius, pushing the grindcore envelope damn far. These guys arguably innovated the genre more than anyone before or since, even compared to legends like Napalm Death and Terrorizer. However, in 2012, they released Book Burner which, while met with praise from critics and fans alike, I found not to my liking at all. Pig Destroyer tried being more groovy and incorporating breakdowns, but it’s a mostly forgettable showing--a shame, knowing how incredible the previous three efforts were. In between then and now, though, the guys incorporated a bassist, which had me very excited for some beefed-up groove work. But all three of the singles leading up to Head Cage left me feeling…weird. My reactions weren’t entirely negative, but I didn’t really know how to feel. It was clear Pig Destroyer were going for a more metalcore approach, which I think is a highly commendable switch to attempt so late in a career, but I knew I needed to hear the rest of the LP to form a proper opinion.

One thing that needs to be said right off the bat is that this is NOT a typical Pig Destroyer record. There is very little that resembles their previous records past the first two tracks. “Tunnel Under the Tracks” is a typical noisy Pig Destroyer intro, featuring the Gold Room masquerade music from Stanley Kubrick’s classic The Shining (Contrary to MetalSucks’ claim that it’s the Monolith theme from 2001: A Space Odyssey,) leading into the grindy “Dark Train.” A great way to start off the LP for sure, but also where the familiar Pig Destroyer cuts off. This change was notable during the singles, so it was safe to assume that they were going to continue in this new direction. Luckily, this allows the singles to sound more comfortable in the context of the rest of the LP. Pig Destroyer’s groove elements were definitely a work-in-progress on Book Burner, but they've sharpened up on this record. “Army of Cops” is such a groovy track. The ending gets a bit awkward, as if JR didn’t really know how to match his lyrics up to the track rhythms, but the song feels more natural overall in context. “The Torture Fields” starts off with some sick blast beats and straight into some rhythmic madness. I just wish the outro was a little more inspired.
That’s the biggest problem Pig Destroyer has instrumentally right now: they don’t know how to end. Most of these songs are filled with interesting material, especially with the addition of John Jarvis on bass, but the outros are almost uniformly boring, like Pig Destroyer searched “how to write a groovy outro” and went with the most generic options. That said, the punky “Mt. Skull” is a relatively technical song with a super tasty final breakdown, indicating that Pig Destroyer aren't totally out of ideas on that front.

J.R. Hayes is as dynamic a vocalist as he’s ever been. His typical style on Head Cage consists of gritty, punkish screams, interspersed with some growls on “Terminal Itch,” and the minor  pitch variations on “Trap Door Man” and “Concrete Beast.” his range isn't as insane as it was back in the day, but it’s a good reminder that J.R. remains a commanding vocalist. The downside, however, is the lyrical content, which is where things really hurt. J.R. is renowned for his morbid poetry, some of the best lyrics in the genre, so to read these groaned is a special kind of disappointment. Admittedly, they can be quite catchy, like the lyrics on “Army of Cops,” but they are repetitive and fashioned around the groove, and can't survive without the music. The worst example I can point you to is “The Adventures of of Jason and J.R.,” which is just embarrassing. This song is supposed to be a ridiculous story about running from the feds, but it's a cringeworthy kind of humor that makes the track an uncomfortable listen. It's a letdown from the man who wrote “Starbelly,” “Forgotten Child,” and “Natasha.”

Luckily, the best of Head Cage is saved for the last two tracks, which will go down as highlights of Pig Destroyer’s career. “The Last Song” is the most ambitious song on Head Cage, starting off with a mean-ass bass lick and some crazy noise supplied by Blake Harrison (who I feel is kind of underutilized on this LP) before launching into a nasty, punk-edged ripper. The lyrics vibe like earlier Pig Destroyer and see J.R. experimenting with his voice a little, too. The finale, “House of Snakes,” opens up with an 80s heavy metal-style riff that pays homage to acts like Judas Priest and Metallica before dropping some nasty sludge metal. The lyrics on pretty poetic as well, so it’s clear that J.R. still has the chops. I wish he would’ve used them more often this time around. It’s an incredible closer, and leaves me relatively hopeful for Pig Destroyer’s new direction.

    Pig Destroyer has always had some trouble releasing things in a reasonable time-frame. It’s hard to justify the six years between Book Burner and this, especially when it's so choppy in places. However, it does show some creative strides, which is admirable in such a veteran act. If you are disappointed in Pig Destroyer for straying from their grindcore roots, enter Head Cage with open ears and accept it for what it is: a fun, groovy metalcore LP.

VERDICT: Pig Destroyer’s sonic change has its issues, but that doesn’t stop it from being a fun 30-minute listen.

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