Play it Again Sam Records, now [PIAS] Recordings, the Belgian-based experimental / alt-rock label released Dog Star Man, a 12″ single from England’s Meat Beat Manifesto. It was the distribution by Wax Trax! Records that caught my eye (along with the industrial-friendly cover art), and although she’s a quick 4-track 12″, she does wet the electro-industrial-experimental whistle and leave the adventurous listener wanting much, much more. 1990 was a great year for industrial music… arguably the genre’s most prolific.
Thinking of remodeling your lackluster bedroom? Why not try some punk-infused industrial goodness, aka LARD?! Math lesson: 101. Q: Dead Kennedys + Ministry = ??? A: LARD! I can throw a stone, hell, SEVERAL stones, MULTIPLE times, at everyone I know, and I won’t find ANYONE who’s into this band. Sounds like I need a new group of friends, does it not? Truth and honesty shoved down your throat with not so much as a chaser… let the LARD begin…
I was elated when I finally found my copy of Lead into Gold’s only full length, 1990’s Age of Reason. Like a child on Christmas unwrapping musical bliss, or something like that. I scored a sealed copy for super cheap online some, wow, 10+ years back. There is a bridge… there is water… and there has been a lot of that water… anyway, one needs to be in a very specific, sharp-minded and angry mood to fully enjoy this industrial masterwork. Today, I was that one. Enjoy with caution.
EBM… a former roommate introduced me to Nitzer Ebb, and I thank you explicitly, Tricia. This $3 necessity was had from a little hallway of a record shop across the street from Nick Nice’s shop in Madison, WI. This is the humble shop where I acquired my first Revolting Cocks record… where I snatched the Hot Snakes debut, the Lenny Soundtrack, the O Brother, Where Art Thou? Soundtrack, and Johnny Cash’s American IV… needless to say, $3 for Ebb’s debut, however mangled, was a bargain, given the circumstances. Covers be damned, until the time in which they be praised.
So reads the warrior of accountabilities pin on the lapel of the heavily saturated, liver-wigged, bloodstained, and anti-patriot of yesterday’s future on the cover of Ministry’s 1996 album, Filth Pig. Scumbags reunite and cast your hollow vote for this season’s cosmetic romance, and paint those faces of joyful optimism and mirroring nationalism with the juice stains of filtered truth and industrial bruising.
I am in no way ashamed to admit that I went through a Ministry phase. I’m also not apologetic to concede that said phase lasted the good part of 14 years. I’ve witnessed their bone-crushing live act more than a few times, and was even fortunate enough to walk away from one show with a (purchased) autograph, and a “game used” drumstick. Ministry was, at one time, my favorite rage band. Now, she serves as a nostalgic milestone, whose chapter I’ll reread from time to angry time.
Burning Inside, the band’s 1989 single off their ass-kicking masterpiece, The Mind is a Terrible Thing to Taste, features 12″ remixes to both the title track, as well as fan-favorite Thieves, and offers a live cover of Skinny Puppy’s Smothered Hope. For a cool $6.99 from (what I remember to be) Second Spin back in Madison, WI, this copy of Burning Inside joined its industrial brothers and sisters in my then blossoming collection.
A classic track by a classic band in the throes of their heyday, Burning Inside is essential Monday afternoon listening material, and as with all Ministry records featured here, comes highly recommended.
The Mind is A Terrible Thing to Taste… it’s not like chilled monkey brain, toast, or a pear. What you’re looking at are Brazilian and US pressings of Ministry’s 1989 masterpiece. Exactly half the contents of 1990’s live effort, In Case You Didn’t Feel Like Showing Up (Live), Mind is home to some of Ministry’s most prolific efforts: Breathe, Burning Inside, So What, and the resounding, Thieves. Food for thought… give Ministry a shot.
Laibach brings such a cynical smile to my face, I border on fits of maniacal laughter. Life is Life is a classic, and comical oppressionist Industrial hymn, and is the perfect relief for the Friday afternoon doldrums. To be completely honest, I’m not 100% sure that Laibach’s brand of persecution theme music is to be taken sincerely. By themselves, Laibach songs can raise the weary eyebrow of the unsuspecting ear, but when coupled with a blatant, over the top video (such as Life is Life, or the Beatles cover, Across the Universe), one can’t help but break out in a rash of uncontrollable snickers.
If you can get past the repetitious hammering and deep-throated persecution, Laibach is comedy gold, with a brainwashing beat. This, and all Laibach comes HIGHLY recommended by the PG.
In 1988, Laibach, Slovenian grandfathers of avant-garde industrial, released Let It Be, a cover of the famous Beatles album of the same name. Apart from the deviant departure in genres, Laibach’s Let It Be bypasses Maggie Mae and the title track to the album, but offers a strikingly charming and elegant version of Across the Universe amongst its polluted sea of military-inspired, industrial-themed, Cold War anthems.
This cover album is worthy of a listen, if just for the sheer cat-killing curiosity factor. Laibach is a bitter pill to swallow, especially for fans of top 40 radio, but gentility and fascination certainly make their glowing presence known throughout this 11-track cover album. Diehard Beatles fans may see this as a chronically sick joke, and I imagine, above all else, that was without question Laibach’s main objective during the production of this legendary album. If you don’t like the harpsichord, steer clear of this, and every other Laibach album, but if you’ve got an ear for prideful adventure, seek out this version of Let It Be. There will undoubtedly be a strong divide separating your time before Laibach, and your time after them. Good luck, and I’ll see you on the other side.
I’ve set the new-wave-turned-dangerously-industrial wheels in motion, so why stop now? I can picture you penning an extensive list of (possibly legitimate) reasons exactly why to stop, but I’ll ignore that. I assure you, this won’t turn into the Ministry-all-you-can-eat-buffet hour. It’s just that I’m currently locked inside this early-Ministry shmorgishborg and I’m enjoying these hidden new wave masterworks as though it were my first time. You can imagine my excitement… or, you can’t… but NOW you can.
Released in 1983 (or 1982, depending on your source), Work for Love was one of three singles from early-Ministry’s debut album, With Sympathy (the others being I Wanted to Tell Her and Revenge). I’m in love with the cover art almost as much as I am with the mind numbing catchiness of the song. This single houses three, that’s right three versions of the track, Extended, Short and Dub, and believe it or not, you really don’t have to work very hard to fall in love with this 30-year-old gem (I’m sorry).
Editor’s note: I’ve been in a digitizing mood lately, so if there is anything you guys want that I may have on vinyl, email me and I’ll rip it for you. For some self-loathing reason, I thoroughly enjoy the process.
The sample of, “al-Gadaffi” from a proud-sounding public speaker starts off Funkahdafi, and continues to appear (mimicking the technique of a sample scratch from a DJ) throughout the funk-infused, foot-tapping, synth-happy, unforgettable example of ear-joy that mark Front 242 as the undisputed staple of EBM (Electric Body Music). It is my humble opinion that they have yet to, and never will, become eclipsed from atop their genre-defining throne.
I’ve been listening to a lot of Front 242 lately, if you haven’t noticed.
The highlight to this EP is an ambiguous remix to Commando, ambiguous because the sleeve doesn’t indicate who remixed it and is simply titled, Commando (Remix), or Kommando (Remix) on the back sleeve. This 9+ minute track rides a hard, minimalist groove under waves of distant, and distorted fits of vocal aggression: a perfect combination of belligerent solidarity.
Although 1985’s Politics of Pressure by Front 242 is only three tracks, it comes highly recommended, as does EVERYTHING from Belgium’s finest, the illustrious Front 242.
Officially titled ΚΕΦΑΛΗΞΘ, Ministry’s 1992 release is often referred to by its alternate banner: Psalm 69: The Way to Succeed and the Way to Suck Eggs. Industrial Metal’s junky grandfathers, Al Jourgensen and Paul Barker (Hypo Luxa and Hermes Pan, their respected aliases as music producers), close out their undeniable stint of groundbreaking Industrial Metal with this, the third major release by the Jourgensen/Barker brigade. Ministry had been releasing New Wave BS since 1983, but it’s unlistenable. They REALLY didn’t start until Barker joined in 1988. “We call it, the departure point.” – Bruce McCulloch
Starting with 1988’s The Land of Rape and Honey, and continuing with 1989’s The Mind Is a Terrible Thing to Taste, 1990’s In Case You Didn’t Feel Like Showing Up (their live, and best in my opinion), and finally with 1992’s ΚΕΦΑΛΗΞΘ, Ministry single handedly created the iconic Industrial Metal sound. Pretty boy Trent Reznor and his vastly inferior NIИ be damned! About the only ups Mr. Reznor had was that he could control his heroin habit, thus granting him more commercial success. (I still can’t take Nine Inch Nails seriously, but I will admit their viral campaign for Year Zero was pretty amazing.)
ΚΕΦΑΛΗΞΘ starts with the Grammy nominated N.W.O. (losing out to pretty boy’s Wish), followed by Just One Fix (the 12” cover to this single features the William S. Burroughs painting, Last Chance Junction and Curse on Drug Hysterics, btw).
Track 3 is the second in the TV series. A collection of various samples from obscure television shows set to a bed of Industrial thorns. TV III, the non-album track on 1995’s The Fall single is arguably my favorite Ministry song, but that’s a post for another time.
Track 4 features samples from the hit 80’s cartoon, G.I. Joe, and is titled, Hero. Jesus Built My Hotrod follows, then comes arguably the only skippable track on the album, track 6’s Scarecrow. This unfortunate cloud is quickly lifted and all but forgotten by the title track, Psalm 69… clearly the climax of the album.
Corrosion and Grace round out the album, offering well deserved breathers after an intense, Industrial workout.
ΚΕΦΑΛΗΞΘ, or Psalm 69: The Way to Succeed and the Way to Suck Eggs is by far not Ministry’s best, but it does neatly sum up an unparalleled 5-year adventure, unimagined by anyone before, and untouched by anyone since.