In some bands, everyone becomes famous, even a humble drummer like Ringo Starr. Then there are bands like Static-X, where there’s “the man” and a bunch of glorified session musicians playing in the background. This is frontman Wayne Static’s first solo album, and it’s no surprise that Static-X’s sound has been replicated almost perfectly, even after the loss of his entire band.

Static-X pretty much broke up two years ago, with the band members going their separate ways (and slinging harsh words back and forth on Blabbermouth). Wayne used the break to work on a long-promised solo record, now released as Pighammer. Since Wayne had always mentioned that he felt that he was creatively tied down in Static-X I was genuinely curious as to what it would sound like.

Well, it sounds like Static-X. Pantera/White Zombie influenced metal riffs, trancey synths, catchy rhythmic gibberish for lyrics. The changes are chiefly production related. The guitar tone sounds processed and scooped out, just a really fuzzy and big version of Rammstein’s sound. The drumming is mercilessly triggered, without the “natural” tone Static-X dabbled with for a bit on Cannibal.

Static-X hasn’t released a 100% good album since 2001, and Pighammer likewise doesn’t live up to the expectations one might have, but Wayne still writes a fair amount of good material. “Chrome Nation” is an obvious winner, fast, catchy, and loaded with energy. “Assassins of Youth” is apparently based on Wayne’s experiences in the wonderful world of drugs (with the trance-inspired second half representing his decision to go clean). “Thunder Invader” has a lot of double-bass percussion, and a deliberately noncatchy chorus that somehow works.

But as soon as Pighammer slows down and starts bombarding you with the midpaced groove songs Wayne loves so much, things suffer. Tracks like “Static Killer” and “Shifter” are sonically monotonous and flat, without the atmosphere and creepiness Wayne used to command on Static-X classics like “Stem” and “Cold”. The closing track also bombs hard. I could have done without the unnecessary guest vocal spots for Wayne’s ex-pornstar wife, by the way. Wouldn’t it feel weird to kiss a woman on the lips and know that she’s had like 900 penises inside her mouth? Oh well, if you can’t be the first, you can be the next.

Pighammer is meant to be about Wayne’s personal transformation. It’s great that he’s transformed, but his music certainly hasn’t. Static-X had a really cool sound for a while, but it seems the band (even if the “band” is only Wayne) bleeds out more energy and inspiration every time they copy the formula.

This CD is just really bad. PM5K should not have put it out. It’s worse than anything they did before, and one of those things was apparently so bad the singer refused to release it. So last we heard, they had put out Transform, which was sorta interesting, and now they’re trying out a new style and identity.

They jumped on the retro-punk bandwagon with both feet this time. “Enemies” and “Walking Disaster” are loaded with Sex Pistols riffs and other assorted musical cliches. The slick industrial riffs are gone completely. And Spider’s vocals don’t exactly clash, but they don’t sound right either, and he compensates by piling on retarded grunts and other gimmicky tricks. Get ready to hear “huh” and “yeah” and “riiight” frequently.

While in most albums you remember the highlights, in this album you remember the lowlights, because everything’s pretty bad but it’s the especially bad ones that stick out. “Wild World” is the most offensive the non-joke songs. Just an Avril Lavigne song with a male singer. The title track can be thought of as bad music that is competently performed. All the musicians have their shit together. None of them are overdosing on coke or smearing feces across the recording studio walls. But they’re obviously not trying. There’s a vibe here of “let’s listen to the new Drowning Pool CD and write something that sort of sounds the same.”

Most of the songs here is like that. “Return to the City of the Dead” brings some of the trademark PM5K energy, everything else sounds like a tired band, bored to tears by the music they’re writing, thinking they can remain edgy and hip by playing punk. There’s no inspiration to speak of, this is just a phase they were trying out, and for all I know they chose their new style using a roulette wheel.

Lurking near the end of the CD is the hellish crapstorm of “Miss America”. Dude, this is not funny or cute. STOP IT. I have no patience for wacky joke songs when the serious songs are jokes in themselves.

Slipknot is a nu metal band (every few days a fan vandalizes their Wikipedia page, changing their listed genre to “death metal” or “thrash metal”) from Iowa. They achieved great fame and worldwide success in the late nineties. That’s how bad they are.

Random, garbled riff explosions that are so downtuned and steeped in fuzz they just register as farting noises, endless drum masturbation, a dual tough-guy/clean boyish vocal approach that makes no sense, hideous “art” songs…welcome to modern metal, I guess.

The worst part is the drumming. Slipknot utilizes three drummers, and after a quick listen, it is apparent why no other bands have picked up on this idea. The album drowns under superfluous percussion. “Liberate” and “Surfacing” have some semblance of a coherent beat, but “(sic)” and “Eyeless” (among others) sound like three different drummers playing to three different songs. The wall of snare fills and tom rolls never ends, and combined with the “raw” production it’s borderline painful to listen to.

“Wait and Bleed” and “Spit it Out” are obvious radio biscuits with annoying clean vocal parts that sound like Linkin Park, and they stick out like a sore thumb. On “Spit it Out” we get “break it down, homie” rapping and turntable scratches. But they’re thrash metal, I swear. The rest of the album is a mishmash of crappy Korn dribble and hideous noise. This is one of those albums with no riffs, the guitarists just sort of chug away in a despondent stew of uselessness. Often the actual song ends within two or three minutes, and they then stretch out the ending with free-time noise and endless drum soloing (I nearly misspelled this as “soiling”, which would actually fit). I swear that half the album doesn’t even have songwriting. 

This is terrible. If you enjoy Slipknot, suck-start a shotgun and pray that your aim isn’t as bad as your taste.