pretazzo

No, seriously, Zigghio, I've already read that comment somewhere else, maybe here...http://www.ondarock.it/forum/viewtopic.php?t=11430&postdays=0&postorder=asc&start=20...and here...http://www.ondarock.it/forum/viewtopic.php?t=11430&postdays=0&postorder=asc&start=40...CAUGHT!!! ;-) Just curious: do you know the guy who wrote those comments?

zigghio, where the hell did you pull that comment from???!!!

Burns, the industrial element is definitely present in Ministry! Just listen to the way Jorgensen uses sampling, electronics, and noise... It's clear that this represents a different kind of industrial than that of the English masters from ten years prior (Throbbing Gristle above all), but I believe that the classification of industrial for Ministry is still accurate: songs like Destruction or You Know What You Are or the title track, what genre would you associate them with if not industrial? Regarding industrial metal: can we include Fear Factory?

Mr. Green, you must have misread what I wrote yesterday... :-D Anyway, thanks to everyone for the appreciation of the review; oh my, it’s quite long, but then again you can’t sum up Zappa in two lines... Oh but how many albums did Zappa make??!! More than 54??!!

A watershed album in the history of industrial rock. With Ministry, a new sound of industrial is born (which NIN would bring to its peak in the 90s). Excellent review; my compliments! Just one thing: I would have mentioned "Golden Dawn," which seems to me one of the most underrated tracks on the album (and one of the few moments where the oppressive and claustrophobic atmosphere is abandoned, and the music takes on a more visionary and evocative quality); besides this, my favorites are "Destruction" (a festival of polyrhythms and cacophonies), "Hizbollah" (a bridge between metropolis and desert), "Abortive" (a blues jam for cyborgs), "Prefer," and "Flashback" (two pieces of "digital hardcore"). But all the tracks on the album are fundamental; they have rewritten the grammar of the genre, both the more intense ones (the first three) and the more laid-back ones (the central part of the album).

F-O-N-D-A-M-E-N-T-A-L album!!! Beautiful from start to finish! It's 16 stunning tracks (yes, even the 4 from Lunch). A seminal record, which everyone has drawn from (not just the SY). For example: the guitar of the Contortions sounds like that of the Butthole Surfers: those aren't dissonances, they are CONVULSIONS! A collection much more varied than one might think: it ranges from the dense and reckless funk-punk of the mad J. White, to the spleen of T. Jesus (the sound representation of the malaise of living, nausea, self-flagellation, disgust, discomfort, nihilism, you get it...sure, the TJ were the least "technical" of the lot, but their music was one of the deepest, most intense, psychological, evocative, and "existential" ever); then there were the Mars, whose proposal was the most radical (impressive how they abused their respective instruments); more organic instead was the music of DNA, where the atonal guitar of Arto integrated with a careful use of minimalist electronics and more rhythmic beats (as opposed to the total dissolution of the Mars), with hints of industrial and Pere Ubu...Enough, I've talked enough. A must-have album.

"Big Leg Emma" and "Why don'tcha do me right" are bonus tracks available only on the CD version (foolishly placed in the middle of the album instead of at the end!!!). In fact, it's clear that they don't fit at all with the rest of the album...

mmm, I miss those, they are among Uncle Piero's favorites, by the way... Festwka, from the way you describe them, they seem like a quirky version of Vampire Rodents, do you know them? And the Fellers will also join the prestigious "Mule List"... Anyway, great review... :-)

Oops, I accidentally gave the wrong rating...

These are the reviews I love!!! :-D