British industrial music and power electronics receive a lot of play around the C-Blast office, and one of my favorite groups is Sutcliffe Jugend, the seminal duo of Kevin Tomkins and Paul Taylor that initially took form as an offshoot of Tomkins main band Whitehouse. Named after the notorious serial killer Peter Sutcliffe, Sutcliffe Jugend were one of the heaviest, most evil sounding groups to emerge from the Broken Flag/UK Industrial scene of the eaqrly 1980's. The last two years has seen a handful of great new releases come forth from SJ, like that brutal feedback orgy/live concert recording on RRRecords, last years corrosive full-length This Is The Truth on Hospital, and now in the past month we've been graced with not only an excellent double LP collaboration between Sutcliffe Jugend and Prurient (also reviewed in this week's New Additions list) but also this disturbing new album Pig Daddy, which is the group's first release on Cold Spring since 1997's We Spit On Their Graves. Pig Daddy is a seedy, depraved collection of six "stories" with titles like "Insult", "Defacer", "Dith", "Dirty", etc., each one a portrait of greasy, noxious sexuality and depraved lust that oozes from throbbing, repetitive basslines and densely layered industrial soundscapes formed out of pulsating, low-frequency drones, high-pitched microphone feedback, voice and noise samples that are heavily fucked-with and twisted into evil-sounding loops, buzzing, brutally heavy synths, and bursts of mangled guitar noise and heavy riffing. As always though, it is the fucked-up vocals of frontman Tomkins that makes Sutcliffe Jugend's recordings such a harrowing experience. Like his former associates in Whitehouse, Tompkins delivers a litany of profanity and bizarre rambling that is run through a wall of distortion, but his delivery is unique, veering between harsh bellowing shouts, mocking, derisive whining, and a kind of weird crooning that sounds like a brain-damaged R&B singer drooling over the looping, throbbing noise. This is unquestionably harsh going, and is one of the more fucked up sounding albums from SJ's recent output.