In black leather pants, a leopard-print fur coat and a large brown fuzzy hat one would expect to see in news reports from Russia, Raymond Watts, creator of Pig, looked rather conspicuous as he strode toward his tour bus behind the Newport before his Nov. 12 performance opening for KMFDM.A few backpack-laden students on their way home from class gave Watts a second glance as he walked by, not noticing KMFDM guitarist Günter Schultz, who was dwarfed by the 6’3″ British man. While Watts looks the part of the rock musician offstage and on, Schultz, coffee cup in hand, blended into his surroundings, casually dressed in jeans, a brown jacket and Doc Martens.Schultz and fellow KMFDM members En Esch and Sascha Konietzko are referred to as “the grandfathers of industrial” in the United States, but the perspective is different in Europe, Schultz said.”We just went over to Germany, and they were using the term ‘grandfathers of techno,'” he said, “so it depends on your viewpoint, how you describe it.”The label of “industrial” came from sounds used in the music, which often resemble industrial machinery, Schultz said.”We never wrote anything with those kinds of sounds,” he said. “We use more guitars.”Watts said the term is used by lazy individuals to describe certain bands, and he does not think KMFDM or Pig fit into that category.”Techno-guitar stuff is what you guys (KMFDM) do, whereas we (Pig) do techno-symphonic-music-concrete-diarrhea,” he said with a laugh.Watts founded KMFDM with Esch and Konietzko, appearing on “What Do You Know About Deutschland,” KMFDM’s 1986 debut, and then went on to work on Einsturzende Neubauten, Foetus, Psychic TV, as well as Pig and a plethora of other projects. Schultz did not join KMFDM until after Watts’ departure from the band, so the two did not meet until a KMFDM show in Paris, where Watts was working the sound board for the band.”You were mixing and reading that book,” Schultz said, addressing Watts.”I was not reading a book then! They thought I was doing sound for them, reading by the mixing board,” Watts protested. “I was writing,” he added slyly.Watts met Schultz again when the two bands joined to record “Pig Vs. KMFDM” in 1994, and Watts worked with KMFDM on 1995’s “Nihil.””It was a very fluid situation inasmuch as we kind of tried to get back to how we used to work years ago,” Watts said, stretching across the seat of the bus, “which was: book a studio, go in for five days and see what would come out of it, with no preconceived, preplanned sort of defined parameters that we’d try to reach.”Schultz played guitar on Pig’s latest album, “Wrecked,” a decision Watts said he made because the CD needed some sobriety.”I really got into the way Günter was approaching his commitment to the whole thing and the fact that he doesn’t spend all his time being really drunk,” he said with a smile. “He actually keeps it together most days, whereas I have a terrible hangover all the time.”To further cement the incestuous relationship between KMFDM and Pig, Watts appears on two tracks of the new KMFDM album.Because the title of the new release is five symbols: a burst, a skull and crossbones, a bomb, a snake and a pounding fist, Schultz said he refers to it simply as “the new album.””After the next one, it will be the album formerly known as the new album,” he joked.The majority of the songs performed during their Nov.12 show were from the new CD. Schultz, wearing leopard-print pants and a shiny black shirt (a change from his offstage attire), the spiky-haired Konietzko and Esch, his gaunt face providing a sharp contrast to his black tank dress and ripped fishnets, started the show with “Megalomaniac.”Tim Skold of Skold was also performing with the band, singing backup and playing various instruments, but sang lead on “Anarchy,” as he did on the album. Although the entire show caused the Newport to vibrate, this guitar-and drum-heavy song in particular relentlessly shook the audience.Ogre from Skinny Puppy appeared on the stage for “Torture,” which he sang on the new album. He careened around the stage like a marionette under the control of a drunken puppeteer, rising, falling and flashing the crowd a maniacal grin to match his unique raspy vocals and disturbing lyrics.The show closed with “A Drug Against War” off 1993’s “Angst,” starting with the sample, “Americans will be killing each other.” This nearly seemed to be the case as the song sent the small mosh pit into a frenzied tangle of arms, legs and bobbing heads.KMFDM was cheered back onto the stage for an encore and performed “Light” from “Angst.” Schultz reappeared with a camera to take pictures of the fans.After leaving, they returned again to perform 1990’s “Godlike.” Skold exited with a wave, and Schultz blew kisses to the audience before disappearing.Noticeably missing from the show was Abby Travis, who did vocals for the latest album. Also disappointing was Watts’ decision not to join KMFDM during the concert.However, Watts gave a strong performance opening the show, with the majority of the songs off “Wrecked,” including “No One Gets Out of Her Alive” and “Hot Hola.” Before the title track, he gave a sinister dialogue.The vocals for “Contempt” alternated between a sexy whisper and a sinister growl as the shirtless Watts contorted and twisted, occasionally pushing his shoulder-length black hair from his face.Despite the incredible performances Wednesday, Schultz said KMFDM continues to attempt to create the ultimate album.”I think we’re still looking for the perfect sound,” Schultz said.Watts said he also strives for perfection.”The reason you never quite hit the target, for me, is the reason you keep doing it,” he said. “…It’s because you don’t get it that you do the next one.”