The first two Ministry albums I heard were With Sympathy and Filth Pig. I can’t remember which one I got first, but they sounded completely different not just from each other, but from what I expected Ministry to sound like — something like Skinny Puppy or Nine Inch Nails.
How did Ministry begin with such pop roots and emerge as a heavy metal band? Jourgensen has claimed he was forced by the record company and his producers to create a pop album. Others have speculated that he discovered hardcore punk later in life and was converted.
“The singer has been accused of punk posturing on the video for ‘Stigmata,’ which has him decked out in skinhead garb and wallowing in a pile of trash,” the Phoenix Times wrote in 1988, following the release of The Land of Rape and Honey.
Neither version of the story is true. And while skipping straight from “Revenge” to “No W” would be quite a shock, there’s actually a steady progression in the sound over the years. This evolution has been a fascination of mine for a long time, and may be the thing I like most about his work.
On their own, most of Ministry’s albums aren’t great. There’s a forgettable synthpop album, a poppy EBM album that’s OK if you like that sort of thing, two rather confused industrial rock albums with a few good tracks, one excellent alternative metal album, a below average sludge metal album and a bunch of above average speed metal albums.
But considered as a whole — as a single continuum instead of several discrete works — Jourgensen’s albums are much more interesting.
His authorized biography, Ministry: The Lost Gospels According to Al Jourgensen by Jon Wiederhorn, provides some insight into how all of this came to be, but it’s often at odds with contemporaneous interviews he gave. I’m not interested in proving whether Jourgensen is being entirely truthful in his account of what transpired at Arista records, but in gaining more understanding in how and why Jourgensen’s music changed over the years.