According to legend, and Portion Control’s website, every track on Filthy White Guy was mixed from a set of six different locations to determine whether they could be given a certain dynamic trait depending on where they were prepared. Locations included a bingo hall, power station, caravan park and chapel. However, to me, Filthy White Guy just sounds like good old Portion Control – and whether or not the mix locations enhanced the end product is impossible to say, not having a copy of Filthy White Guy mixed in one location to compare with.

So, what we have is Porcon’s second album in three years, following a few solid EPs. Filthy White guy is a different beast to the previous, Wellcome, but stays true to the hard, rhythmic industrial sound they’re renowned for. The compositions are dark and menacing, as you would expect, but also surprisingly electro-pop in places; tracks such Seven Shades of Shit, swiftly followed by Slur, have highly addictive melodic choruses.

Filthy White Guy is probably a more accessible album than we’ve heard from the band before, but by no means less enjoyable – this is almost an object lesson in how to make an industrial album, even though they don’t particularly deserve being lumped into that bag of dead fag ends. But as we have already discovered over the years, Porcon are masters of the genre, they know exactly when to slow the pace, speed it up, flit between the brooding and ominous, spidery and unclean, light and poppy, analogue and digital, but never pandering to the genre, just moving like a shadow from one corner to another, basking in the application of their own compositions. Filthy White Guy has depth, not just surface water.

Tasty tracks leak their supper all over this album, Susano is a real beauty with its brusque analogue bass pads and mesmerising percussion - accentuated by shimmering, metallic synth sweeps. Then there’s the bossy stomp of High Visibility and Sapphire’s supercharged rhythms via chunky metal pads, the eerie intelligence of the horror-flick instrumental, Sub_Sequence, and the plain, good old kick you in the bollocks menace of the seething Spread Needle.

Porcon make industrial music relevant again, like every genre is relevant, but absent of the cliches that 95% of modern-day industrial music generally produces - usually little more than a rehash of stale ideas. Even Front Line Assembly has fallen into the hole, like many of the genres once bright stars, they should listen to Filthy White Guy and be embarrassed by their recent ineptitude.

Porcon’s renaissance is still going strong, their class unwavering, and Filthy White Guy is another corker - not to be missed.