With only 14 days left until one of the most important elections in American history, MINISTRY‘s Al Jourgensen is encouraging fans to “Git Up, Get Out ‘N Vote” by whatever means necessary ahead of the November 3 deadline. Today, MINISTRY releases a brand-new video to spread the message, using the music and lyrics from the notorious song that originally appeared on the band’s 2012 release “Relapse”.

Stay tuned to MINISTRY‘s official social media accounts (@WeAreMinistry) the next two Tuesdays (October 27 and November 3) for additional surprises that will launch leading up to Election Day.

To provide the perfect soundtrack to get fans engaged in the upcoming voting season, MINISTRY has also created a new playlist, “The Soundtrack To Your Election”, available now on Spotify. With 30 powerful selections, the playlist features personal favorites of Jourgensen as well as MINISTRY‘s own rally cries including new single “Alert Level” and tracks from the highly politicized album “AmeriKKKant”, the band’s most recent full-length release.

Jourgensen has spent decades using his music to rally fans and listeners to the fight for equal rights, restoring American liberties, exposing exploitation and putting crooked politicians in their rightful place. Songs like “Thieves”, “Lies, Lies, Lies” and “N.W.O.” have taken on political corruption and the societal constructs that led to historic events like 9/11 and the 1992 Los Angeles riots while the George W. Bush administration spurred an entire trilogy from the industrial godfather.

With America still on the brink, Jourgensen has re-entered the studio to create his missives that will become material for a to-be-announced new album on Nuclear Blast Records. The first taste, “Alert Level” was released in April, and asked fans to be part of the larger conversation by answering the question posed by the song, “How concerned are you?” Many of the videos have been shared across MINISTRY‘s social media pages as the band and Jourgensen encourage fans to remain engaged and informed in 2020.

MINISTRY Releases New ‘Git Up, Get Out ‘N Vote’ Video

Welcome to our “Psychedelic Lunch” series, “Spooktober Edition” where we find out how deep the rabbit hole really goes and explore music from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

“Every Day is Halloween” By Ministry Band, Album: Twitch 1986

The Man Who Celebrates Halloween Every Day

All Day” and “(Every Day Is) Halloween” are songs by American band Ministry, both written and produced by Al Jourgensen. These were originally released by Wax Trax! Records in 1984 as Ministry’s “comeback” single following their departure from Arista Records, 78 with “All Day” on the A-side and “(Every Day Is) Halloween” on the B-side, respectively. In 1987, these were included on Ministry’s compilation Twelve Inch Singles (1981–1984). The remixed version of “All Day”, titled “All Day Remix”, was featured on Ministry’s 1986 album Twitch. “(Every Day Is) Halloween” has been featured in the 1998 Rhino Records compilation Just Can’t Get Enough: New Wave Halloween.

Ministry first made noise as a synthpop band, then evolved into an innovative industrial act, and soon after became a punishing industrial metal group. Along the way Jourgensen had numerous side-projects and a huge club hit with “(Every Day Is) Halloween.” His journey is chronicled in his autobiography Ministry: The Lost Gospels According To Al Jourgensen(Da Capo Press)

As told to writer Jon Wiederhorn, the book is a warts-and-all tale of music, excess, and addiction with a rogue’s gallery of bold names (Courtney Love, Madonna) that is hilarious and tantalizing.

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series, “Industrial Metal Edition,” where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

Ministry is an American industrial metal band founded in Chicago, Illinois in 1981 by producer, singer and instrumentalist Al Jourgensen. Originally a synth-pop outfit, Ministry evolved into one of the pioneers of industrial metal in the late 1980s. Aside from popularizing industrial music in the United States, Ministry is also known for politically provocative and controversial music, videos, and album art.

The band was first formed in 1981 in Chicago, IL by Al Jourgensen. The original lineup consisted of Jourgensen, who, at the time, was responsible for all of the lead vocals, guitar, programming and production, along with Stephen George on drums, Robert Roberts on keyboards and background vocals and, finally, John Davis also on keyboards and vocals.

Ministry took advantage of the technological boom of the 1980s and fused it with edgy sounds characteristic of the dark wave era.

During the early years of the band, Ministry had created a unique fusion of catchy synth-pop, dark wave, and metal; catching the attention of music critics across the United States. The band introduced this new sound by releasing four 12″ singles through Wax Track! Records in 1981 and their first LP “With Sympathy” in 1983 via Arista Records.

Al Jourgensen has never stopped evolving. His constant experimentation and stylistic variation morphed the band from it’s synth-pop origins to the industrial juggernaut of today.

With “Psalm 69” Ministery Set The Bar For Depravity

“That was beyond the limits of good taste.”

Censure like that wasn’t something we heard much of from the crass, couch-bound music snobs and 1990s animated MTV stars Beavis and Butt-head. But in the show’s second season, one band forced Beavis to air such discernment: Ministry.

The cartoon dude who called himself Cornholio and coined insults such as “fart knocker,” “pecker wood,” and “ass munch,” was offended by one scene in Ministry’s “Just One Fix” video, where a teen spews up some blood. It may have been new for him, but not for Ministry. In fact, this kind of reaction was business as usual.

Controversy was commonplace for the Chicago-based industrial-metal band. However, while sensitive types were crying foul, Ministry reveled in the attention by pushing extremes and concocting a sound that was both uncompromising and accessible. In 1992, they fulfilled their greatest achievement: an album bewilderingly titled Psalm 69: The Way to Succeed and the Way to Suck Eggs. And boy did they ever go beyond the limits of good taste in making it.

Ministry has always been a band that sought to piss off (and likely even on) everyone that stood in their way.

Over the course of the band’s next three albums— TwitchThe Land of Rape and Honey, and The Mind Is A Terrible Thing To Taste—he began unlocking his inner demons. With the help of co-producer Paul Barker, a cast of collaborators, and enough narcotics to kill a small country, Ministry’s sound became a nihilistic blend of punk fury, clubbing adrenaline, and industrial experimentation, largely influenced by the boundary-pushing of his other projects: Revolting Cocks, Pailhead, 1000 Homo DJs, and Lard.

Ministry headed into their fifth album with a ton of money behind them, which proved to be both a blessing and a curse. Foolishly expecting it to go towards production, Sire gave them a sizeable budget of $750,000. But Jourgensen and Barker (credited as Hypo Luxa and Hermes Pan) had alternate plans; they cut costs by self-producing at Trax Studios, which they got for a discounted rate. Whatever money they saved in production was quickly gone thanks to a tremendous appetite for drugs.

“We were spending $1,000 a day,” Jourgensen details in The Lost Gospels. “All the money went right into our arms and up our noses. I was shooting up, smoking crack, drinking Bushmills laced with acid. And this was a cycle I’d repeat ten times a day, at least. We were complete nihilists, but we didn’t care because we had money. It didn’t dawn on us that we had to make a record… Sire gave us three-quarters of a million dollars to make this breakthrough record, and we’d get crazy high and record hours of white noise—just walls of static that sounded like a radio stuck between stations—which is kind of what I had become.”

At this point, Ministry was more divided than ever and practically functioned like two separate bands, regardless of Jourgensen and Barker acting as co-producers. Sessions were completely separate from one another. Jourgensen and guitarist Mike Scaccia would lay down tracks on their own while completely fucked up on everything they could get their hands on. And the Book Club—as Jourgensen called Barker, Chris Connelly, and Bill Rieflin, due to their insistence on not partaking in the heroin binges—were in the studio the other half of the day working independently.

“Mikey and I would go into the studio and record stuff all night, and then we’d leave,” Jourgensen writes. “Then the Book Club would come in and add their parts. The next day we’d come in and erase 80 percent of what they’d done and continue what we were doing.”

Eventually, Trax became what Jourgensen described as a “factory of degradation and debauchery.” On the night of his 34th birthday, Jourgensen’s friend, poet Lorri Jackson, died of a heroin overdose. Chicago newspapers blamed him, which raised suspicion with the police, but Jourgensen claims he had nothing to do with her death nor was he charged. The band relocated to Lake Geneva, Wisconsin, to finish the album at Shade Tree Studios, which belonged to Cheap Trick’s Rick Nielsen.

(Jourgensen later bought the studio from Nielsen for $666,666, and then moved the equipment down to Austin, Texas, before taking it all back up to Trax in Chicago after he was charged with possession of heroin in 1995. While recording 1999’s Dark Side Of The Spoon, Jourgensen claims R. Kelly urinated in his grand piano while recording at Trax. Last year, he told The Quietus, “Not only did R. Kelly piss in my piano, he left Kentucky Fried Chicken underneath the fuckin’ hood and broke one of the legs. He’s a douchebag. I hate that fucking guy.” Of course, Kelly would go on to buy Trax and rechristen it the Chocolate Factory.)

Immediately, Ministry knew they were making a different record from the previous ones. Guitars had become more pronounced since Rape and Honey, and from the outset they wanted to intensify that component of the music. The thunderous crash of lead track “N.W.O.” and its sludgy, looped riff opened the floodgates for an ambush of mass destruction, underlined by “TV II” and its vulgar explosion of inhuman speed metal shredding. Ministry was now more a metal band than anything.

“We decided to approach this one by trying to make more of a guitar rockin’ record and still maintain a Ministry record,” Barker told Screamer back in 1992. “That, to us, was a challenge! We didn’t compose on guitar. We did it through sequences and sound effects and ‘sound montaged’ it. With this record we wanted to start with guitar.”

Credit for the guitar-heavy sound may go to Jourgensen and Barker as the decision-makers, but it was Scaccia that composed them. In his book, Jourgensen admits, “Mikey’s thrash-based riffs saved most of [the album]. I just added my production and some movie samples to make it cool.”

Sampling became a huge part of the finished album. Just as lawsuits were just being launched by Rick James against MC Hammer and U2 against Negativland, Ministry managed to nab clips from name films like The Man With The Golden Arm, Suspiria, Blue Velvet, and Apocalypse Now. Most effective, however, were the multiple excerpts from then-President George H. W. Bush that gave “N.W.O.” it’s purpose: “A new world order! We’re not about to make that same mistake twice!”

The use of Bush on the album set an important tone for the new album. Although they didn’t publicly identify as a political band, Ministry was not shying away from airing their grievances with the Bush administration and its Gulf War. And so a number of songs had a slant to them that was adopted as protest music.

“When you have a real right-wing shift in society as America did in the 80s, you get a much more entrenched underground,” Jourgensen told the Chicago Tribune. “Some people get mellow with age, but what I see on CNN these days, I get more ticked off. We’re a wake-up call to do something about what aggravates you. I hate to use a phrase like ‘people power’ because it sounds like some kind of half-time entertainment at a football game, but we’re just trying to raise people from their TV-induced hypnosis.”

Still, politics were best served up with the band’s bleak and black sense of humor. The first song released from the album sessions sounded like a complete pisstake, and ironically became the biggest hit of their career. Featuring Gibby Haynes of Butthole Surfers on lead vocals, “Jesus Built My Hotrod” was an unexpected smash upon its release towards the end of 1991. Equal parts rockabilly and thrash, the song was a breakthrough for the band, finding its way onto MTV and college radio. That it was made from madness should come as no surprise.

“Gibby came in absolutely shitfaced. He couldn’t even walk,'” Jourgensen recalls in The Lost Gospels. “We set him up with a stool, gave him a microphone and a fifth of Jack, and played the track. Gibby started babbling some incoherent nonsense, knocked over the whiskey, and fell off the stool. We propped him back up again and heard, “Bing, bang, dingy, dong, wah, wah, ling, a bong…” CRASH! Back on the floor. We went on like that for take after take, getting nothing but gibberish with a few discernible words. Finally Gibby passed out. He was gone. And that was it. But I knew there was something there. If only I could extract the magic, it would be like pulling a diamond ring out of a septic tank.”

Sire. The label allegedly hated it and demanded to know where all of their money went. Sales for the “Jesus Built My Hotrod” maxi-single were through the roof though. According to Jourgensen, sales reached 1.5 million and surpassed Madonna as the label’s biggest-selling single of that calendar year. To no one’s surprise, the label gave the band another $750,000 to finish the album.

With a hit single under their belt, Sire looked to capitalize, but the album failed to see its expected release in May 1992 because of trouble clearing spoken dialog by Beat writer William S. Burroughs for the track “Just One Fix.” (That was later cleared up and the version would be released as an edit on the track’s 12-inch single, with Burroughs starring in the video. Jourgensen became good friends with Burroughs after solving the old man’s raccoon problem by suggesting he feed them methadone wafers. It worked like a charm and the two became drug buddies until Burroughs’ death in 1997.)

Ministry’s fifth album was finally released on July 14, 1992; it debuted at #27 on the Billboard 200 despite wide confusion over its name. The original title printed on the album’s spine read, ΚΕΦΑΛΗΞΘ, which translated as “head” and “69,” but it is commonly known as Psalm 69: The Way to Succeed and the Way to Suck Eggs ( Psalm 69for short), a reference to the 69th chapter of Aleister Crowley’s 1912 work, The Book of Lies. The delay definitely worked out, as the timing couldn’t have been better. Four days after it hit stores, Ministry joined the second annual Lollapalooza tour for what would become the greatest line-up of its eight years as a travelling festival.

Headlined by the sock-on-cock-wearing LA funkmeisters Red Hot Chili Peppers, the day began with Lush, Pearl Jam, the Jesus & Mary Chain, Soundgarden, and Ice Cube, with Ministry on second to last. As grunge’s influence grew over the summer, by the time the two-month-long tour ended in September, Pearl Jam had moved into the Ice Cube’s slot, while Soundgarden became the penultimate performer.

Going into it, no one in Ministry was enthused about attending alternative music’s summer camp. But even as they were demoted on the bill by a couple of grunge bands, they quickly realized how beneficial the tour would be for them. They even had some fun, drinking Jim Rose’s regurgitated stomach bile and blowing up their tour bus with fireworks. (“The firework shot toward the front of the bus, then bounced into a bunk and started a big green and orange fire,” Jourgensen details in his book.)

“It was the first real commercial thing we had done since the [the early 80s], and we were all prepared to hate it,” Jourgensen told the Los Angeles Times the following year. “By the second day, however, we were having a ball, partly because the guys in Pearl Jam and Soundgarden were just so great to us.”

Ministry were clearly the most antagonistic act on the bill, but they became friendly with everyone—though Ice Cube put up a bit of a fight. After the rapper’s posse stole all of Ministry’s beer, Jourgensen got his revenge by approaching Cube right after his set completely naked. “I ran up to him, swung my hips, and started smacking him with my dick, trying to get him to put his hand on my cock,” he remembers in Lost Gospels. “He freaked out. I think his head was about to explode. He ran down the hall as I chased after him, and then he locked himself in the dressing room.” After a fight with some rednecks at a bar in Charlotte, however, the two sides became friends. “Cube had a new respect for me. He said, ‘You guys are awesome. You didn’t have to do that, and you stood up for me. You can come into my trailer and drink my beer and fuck my bitches any time.'”

They didn’t end up needing Cube’s beer. Instead, Ministry had more than their share of substances. “Shit got so out of hand that we booked hotel rooms for all the guys in the band and crew and then a separate room for all our drugs,” Jourgensen recalls in Lost Gospels. “Our clean needles, cotton, spoons, heroin, coke, pills, acid, ecstasy—all that shit was stuffed into our drug packages, and it went into its own room so if we got busted, nobody would be able to pin the drugs on us.”

The drugs, in combination with being fined $20,000 daily for exceeding the tour’s 90-decibel rule, meant Ministry was hemorrhaging money faster on the road than they were in the studio. When they asked Sire rep Howie Klein for more tour support, he declined. “So I beat off into a Ziploc baggie and mailed it to Howie at Sire,” writes Jourgensen. “I called him up the next day and asked, ‘Did you get my package?’ He’s like, ‘Yeah. What is that, some kind of drug? It smelled horrible.’ I laughed my ass off and said, ‘No, it’s my sperm, and if we don’t get our tour support, every member of the band and crew will be sending you body fluids every week.’ We got our support back.”

After Lollapalooza, Ministry would spend the next year reaching new levels of popularity. In the fall of 1992, they headlined an arena tour that included post-hardcore favorites Helmet and Brazilian groove metallers Sepultura; “N.W.O.” was nominated for Best Metal Performance at the Grammy Awards; and Psalm 69 would go platinum in the U.S.

“I’m happy with [Psalm 69_], yet I don’t feel we have come close to making the perfect Ministry record,” Jourgensen told the Los Angeles Times in 1993. He would prove himself wrong, as the band would hit a wall in the album’s aftermath. The roll that began with _Rape and Honey came to an abrupt halt following Psalm 69‘s promo cycle. It took them nearly four years to deliver a new album, and when it arrived, the sludge-ridden Filth Pig was met with an indifferent response by both fans and critics (the album’s cover was by far the most memorable thing about it). As the years passed, Ministry was affiliated more with bad puns and Al Jourgensen’s unhinged political commentary than any note of music they released. Barker left the band in 2003, and Jourgensen put the band on ice in 2008 for a few years.

Twenty-five years after its release, Psalm 69remains a revelatory, thrilling, and visceral album. At the height of alternative rock when almost anything went, Ministry offered up this post-apocalyptic, doom-laden paragon that was darker and weirder than everything else around. Nine Inch Nails may have commercialized industrial rock two years later with The Downward Spiral, but Psalm 69 reared its uglier, fucked-up head first, influencing the likes of Marilyn Manson, Dillinger Escape Plan, Hatebreed, Korn, and Nachtmystium along the way.

And if that’s not enough, well, it inspired Rammstein to write their jock jam “Du Hast,”which is definitely something to be proud of.

Psychedelic Lunch

William Frederick Rieflin was an American musician. Rieflin came to prominence in the 1990s for his work mainly as a drummer with many notable groups including Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails.

Rieflin died on March 24, 2020 from cancer at the age of 59.

Rieflin’s passing was confirmed by King Crimson founder Robert Fripp. In a post to social media, the guitarist explained that Rieflin’s wife, Tracy, called him with the news. “Tracy told Toyah (Fripp’s wife) and me that the day was grey, and as Bill flew away the clouds opened, and the skies were blue for about fifteen minutes. Fly well, Brother Bill! My life is immeasurably richer for knowing you.”

Rieflin’s career began in his hometown of Seattle, where he drummed with a variety of local acts, including punk rock group the Blackouts. The band’s final EP was produced by Ministry’s Al Jourgensen, with whom Rieflin became friendly.

Following the Blackouts’ disbandment, Jourgensen recruited the drummer to join Ministry. Rieflin played on the band’s 1988 album The Land of Rape and Honey, a landmark release in the industrial music genre. He continued as a member of the group through the mid-90s, contributing to five of the band’s LPs.

In a 2011 interview with Modern Drummer, Rieflin recalled his departure from Ministry. “When I started playing with Ministry in ’86 it was all very computer, synthesizer, and noise based. Those records were pretty interesting for that time, and we had a lot of fun doing them,” the drummer explained. “And then Al got more interested in guitar rock music like on [the 1992 album] Psalm 69. I’m just not interested in that metal guitar rock; it bores the crap out of me. I have been known to say, with great pride, that my last act in Ministry was to refuse to play on their version of (Bob) Dylan’s ‘Lay Lady Lay,’ which appeared on [1996’s] Filth Pig. When I left Ministry, I didn’t have a plan per se. My first concern was getting the hell out of there. My second concern was, ‘Well, what now?’”

“What now” turned out to be a run of material with a wide variety of artists, including German industrial group KMFDM, New York experimental band Swans and folk group Angels of Light. Rieflin also played on Nine Inch Nails’ 1999 double album The Fragile.

Also in 1999, Rieflin released his debut solo album, Birth of a Giant. It was during this time that a publicist introduced him to R.E.M.’s Peter Buck.

“When R.E.M. was preparing to begin work on what was to become Around the Sun, I was asked if I wanted to do a few weeks of recording,” Rieflin recalled. “A few weeks became a few more weeks. Eventually I was asked to do the European tour, then the U.S. tour. Then I guess they just got used to me hanging around. Perhaps at that point it was too much trouble to get someone else.”

Though he was excited to be playing with the group, Rieflin admitted he was only mildly familiar with R.E.M.’s music. “I didn’t know their records. I knew pretty much what your average radio-listening, MTV-watching American knew about them. ‘Losing My Religion’ was the first time I stopped to listen; a lot of it had to do with the video.”

The drummer would contribute to R.E.M.’s final three albums — 2004’s Around the Sun, 2008’s Accelerate and 2011’s Collapse Into Now.

Upon the band’s breakup in 2011, Rieflin was asked what he’d miss about working with the group. “Firstly and perhaps most importantly, the R.E.M.’s are a rare breed in my experience: they are all lovely guys — very smart, funny and, significantly, among the most generous and big-hearted people I have ever met,” the drummer explained to NPR, noting that he’d miss “a lot of things” about collaborating with the band.

Fripp, with whom Rieflin had previously collaborated and remained friends, announced that the drummer had joined King Crimson in 2013. Rieflin would tour with the group and appear on five of their ensuing live albums, released between 2015-18. More recently, the drummer had been absent from the group since taking an indefinite sabbatical in 2019.

Rieflin’s official cause of death has not been released, but session drummer Matt Chamberlain tweeted that the drummer passed away from cancer. Nirvana bassist Krist Novoselic was among the rockers to pay tribute to Rieflin via Twitter.

Bill Rieflin, Drummer for Ministry, R.E.M., and King Crimson Dies at 59

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 11/11/2019, my girlfriend and I traveled to Kentucky to see Slayer one last time (or maybe not…who really knows?) as part of the Final Campaign.

This concert was held at the KFC (Yum!) Center, a terrific venue with both visual and audio superiority. Along for the show this time around were Primus, Ministry, and Philip H. Anselmo & The Illegals (performing a Vulgar Display of PanterA).

I have now seen Slayer 4 times in 4 different states on this farewell world tour, and I have written about each show believing it was the end. Well, I guess I knew at Riot Fest that I still had this one lined up, but at any rate I knew the end was getting close.

First things first: Philip H. Anselmo & The Illegals opened the festivities with a blistering set of PanterA classics, including A New Level, Strength Beyond Strength, This Love, Fucking Hostile, Yesterday Don’t Mean Shit, and Walk. They also slid in the verse from Goddamn Electric that name checks Slayer, “Your choices are whisky and weed and Slayer, it’s Goddamn Electric!” to great effect.

Anselmo’s voice has undergone a lot of changes over his years of smoking and other forms of abuse, but he still cuts an impressive presence on stage, and had the assembled metal masses pretty hyped throughout the Illegals’ admirable job of covering the mighty PanterA.

Next up was the Industrial Metal fury of Ministry, a band I last saw in 1992. I was ecstatic to discover that Al Jourgenson and co. haven’t mellowed in the least, and they delivered a virtual greatest hits beatdown complete with a light show that threatened to put the entire crowd in seizures.

Among my personal highlights were Stigmata, Just One Fix, N.W.O., Thieves, and an absolutely ballistic Jesus Built My Hot Rod. I sincerely hope I get a chance to see Ministry again real soon.

Primus brought their unique brand of quirkiness, odd lyrical concepts, and staggering musicianship, along with some of the best bass playing (and bass SOUND) I have ever experienced. I hadn’t seen the Primus experience since the late ’90’s, and, like Ministry, they reminded me forcefully of what a thrilling live act they can be.

Les Claypool guided the trio through epic Primus material including Those Damned Blue Collar Tweakers, Wynona’s Big Brown Beaver, Sgt. Baker, Mr. Krinkle, Too Many Puppies, My Name Is Mud, and Jerry Was A Race Car Driver.

As much as I loved all the opening acts and the sheer diversity in musical offerings; the evening belonged to Slayer. I don’t know what I can add about Slayer that I haven’t already said before, but their level of consistency and intensity during this long journey to the end of their touring life has been astonishing.

Tom Araya, Kerry King, Gary Holt, and Paul Bostaph are going out in glorious fashion, maintaining the monumental legacy of Slayer at each stop of the tour, performing like a hungry upstart band with worlds still to conquer, and the adoration that radiates between the band and the fans is a palpable force.

As I have said before, at the end of each show, Tom Araya lingers longer and longer, storing up the love and the memories, and I know I’m not alone in feeling that he is truly the one who is retiring, but as the voice of the band, Slayer goes when Tom goes.

In rock and metal, most bands that retire wind up returning after a time…so as I do in real life, I won’t say goodbye…I’ll just say “See Ya!” I hope you guys have a wonderful retirement. You’ve certainly earned it…but if you want to come back in a few years, us Slayer fanatics won’t be mad…and we’ll be ready!

On This Date in History

Ministry invaded my musical arsenal as part of the second annual Lollapalooza tour in 1992 (also the year that Psalm 69 was released). Al Jourgensen and co. didn’t invent Industrial Metal, but they certainly helped propel it into the mainstream with this raging collection of inspired insanity. With lead vocals by Gibby Haynes of the notorious Butthole Surfers, the lead off single Jesus Built My Hotrod became a smash hit on MTV. Videos followed for N.W.O. and Just One Fix and suddenly Ministry had a platinum album on their hands. Their performance at that Lollapalooza show was colossally epic and remains one of the most entertaining a nd brutal live events I have ever witnessed. It was the first time I saw a crowd instigate a “sod war” by ripping the lawn to shreds and throwing it in all directions, and also my first time seeing seismic circle pits. I left that show as a lifelong Ministry fan. Psalm 69 is crushing, amusing, terrifying, and sticks to the roof of your mouth like peanut butter.

Written By Braddon S. Williams

Influences And Recollections of a Musical Mind