Pigfuck

Finally, there's the folks at Sub Pop, who've cashed in on this new Singlesmania big-time, turning every indie/pigfuck record buyer into a rabid collector by deliberately limiting the pressings of their Singles Of The Month and then finding the hippest bands around to record.

The camera is facing Slash’s back, so there is no way to see his reaction to the song that he is accompanying, but the crowd—thrown by the initial “cops and niggers,” even though Axl [Rose] builds a reaction into the song; “that’s right,” he sings, as if to say yes, I intended to say that—has caught up by the time he sings “immigrants and faggots,” and giggles appreciatively. It’s the Pussy Galore, Big Black, pigfuck era in post-punk terms. A lot of shit has been said at CB’s; this is just more.

Monumentally caustic but hypothetically a dance band, Sleigh Bells sculpt infectious double-dutch funk from an unlikely acid bath of distorted drum machines and nasal pigfuck guitars.

That band [Shellac] hit the ground sprinting with 1994’s At Action Park, a thunderous debut that seemed obsessed with one-upping all the pigfuck and post-rock outfits that had sprung up in Albini’s wake.

In 2016, the group [Bruges] released a five-song demo of sludgy pigfuck noise-rock layered with distorted bass and ear-piercing guitar feedback, but on their brand-new singles “Through a Muted Lens” and “Atop a Precipice,” the group really show what they're made of.