Christoph Liggio – better known as Krztoff – has certainly earned a reputation for his particularly abrasive and malignant approach to industrialized metal. Following up on the Sharks and Covid Vol.1 EP, this new full-length effort under the banner of BILE sees the band amply signifying Karr’s aphorism of “plus ça change, plus c’est la même chose” – “the more things change, the more they stay the same.” Pot Farmer, Vol.2 is every bit what one would expect from a BILE album, each track drenching the listener in aural pools of acidity that are irreverent as they are irresistible. “Marshall Stacks (Build a Wall)” and the SkunkMix of “Greenhouse” present variations on a bluesy and rather catchy synth riff that in the first instance takes an almost bouncy yet guttural cadence with harmonized guitar phrases a la Iron Maiden, and in the second a more menacing and mmonstrous vibe that revels in the putridity of its pseudo-environmentalist bent. The same can be said for the title track, the new version of “Children of the Gun,” replacing the mechanical staccato thrust of the 2020 original with a leisurely legato feel befitting its label of an ‘80s metal version, and especially “Counter Attack,” which is the quintessential sort of pedal-to-the-metal track one would expect from BILE. However, it’s in songs like “Sugar (Where We’re Going)” and “Holiday” with their slimy overdriven vocoder effects and raunchy blend of guitars with Roger Ebner’s slick sax and horns that the record’s acerbic personality asserts itself – melodic to the point of poppy… yet still unashamedly ugly in true BILE fashion. We even get a callback to the past with a titular outtake from the 1994 Suckpump album, which is every bit as ominous and odious, dirty and distorted as that album was, yet still making for a fitting outro to Pot Farmer, Vol.2. Sure, Krztoff and company have thrown in a few added production and songwriting flourishes, but it’s still very much a BILE album… oh c’mon, did we really expect or even want it to be anything else?