CD Review: Rigor Mortis – Slaves to the Grave

CD Review: Rigor Mortis – Slaves to the Grave
Rigor Mortis Records
All Access Rating: A-

Rigor Mortis - Slaves to the Grave 2014

No Mike Scaccia means no more Rigor Mortis. The thrash/speed metal tyrants have apparently refused to soldier on without him.

Felled by a heart attack onstage at a homecoming show for Rigor Mortis in Fort Worth, Texas, in 2012, the guitarist was the maggot-filled heart and worm-eaten soul of a band that laid waste to the late 1980s extreme metal underground.

Without their breakneck tempos, frenzied beats, insanely furious riffage, and putrid, R-rated lyrical content inspired by horror and gore films, and a fascination with serial killers, there would be no Toxic Holocaust, no Goatwhore even. Who'd want to live in a world like that?

Only days before Scaccia, also known for his work with industrial-metal giants Ministry, as well as a slew of other Al Jourgensen-related projects, shuffled off this mortal coil, however, he finished his guitar parts for what would become his and the band's swan song, Slaves to the Grave, a record – their first in the 23 years since the punk/metal manifesto Rigor Mortis Vs. The Earth ... – the reunited Rigor Mortis was working on prior to his untimely demise.

No record labels wanted to touch it. Needing assistance with funding to release it themselves, Rigor Mortis raised money through an IndieGoGo campaign, and with a little help from some friends in the industry, this burning slab of fierce, raging death metal is finally seeing the light of day. And what a fiery, no-holds-barred send-off it is, "Flesh for Flies" taking the prize for "biggest wall of buzzing guitar noise ever conceived" by these remorseless attack dogs.

Resting only briefly for an unexpectedly melodic and tasteful intro to "Rain of Ruin," before trashing the place with a barrage of scabrous drums, bombing guitars and war-torn imagery, the original lineup of Scaccia, bassist Casey Orr, barking vocalist Bruce Corbitt and drummer Harden Harrison brutally stomps all over a gruesome "Ancient Horror" and tears through the blistering "Poltergeist" and an equally venomous "Fragrance of Corpse" like a cyclone.

And while the staggering hyper speed with which they play still makes jaws drop to the floor, as it does in "Curse of the Draugr," Rigor Mortis has other tricks up their tattered, blood-spattered sleeves, with Scaccia letting nervous six-string manipulation skitter like frightened, amphetamine-fed spiders or unpacking the unusual, repetitive muted stutter and quickened chug of the instant-classic "Blood Bath" and its whiplash change of pace. This may well be Scaccia's finest hour, and in turn, the rest of Rigor Mortis have fully realized their disturbingly warped vision of humanity and sonic brutality.
– Peter Lindblad

CD/DVD Review: Ministry - Enjoy the Quiet - Live at Wacken 2012

CD/DVD Review: Ministry - Enjoy the Quiet - Live at Wacken 2012

UDR

All Access Rating: B+

Ministry - Enjoy the Quiet - Live
at Wacken 2012

Quiet is not a word normally associated with the "godfather of industrial metal" Al Jourgensen or Ministry. Never one who's subscribed to the notion that the meek shall inherit the earth, Jourgensen has a mouth that roars and a raging band he founded in 1981 in Ministry that has only gotten more ferocious over time.

They were absolutely seething by the time the 2012 "RELAPSE" tour rolled into Wacken Open Air that year for the riotous final show of that campaign with a stage set-up that looked like an abandoned factory, ominous, dirty and ugly, the perfect home for a janitor/serial killer. A visceral, snarling performance from Ministry, this sonic hell-scape was recorded for a new double CD/DVD package titled "Enjoy the Quiet - Live at Wacken 2012" from UDR, and they scorch the earth of those darkened festival grounds in crystalline high-definition sound and video.

Combined with bonus audio and film footage of Ministry laying waste to Wacken 2006, this collection is as much about Mike Scaccia as it is Jourgensen. The longtime Ministry guitarist died five months after this last trip to Wacken, and his guitar work has rarely come across this mean and virulent. With help from guitarist Sin Quirin, keyboardist John Bechdel, bassist Casey Orr and drummer Aaron Rossi, Scacci and Jourgensen lead Ministry into a writhing, contorted aural and visual nightmare of dizzying background sounds and imagery that envelope fast, controlled blasts of atomic, churning industrialized thrash-metal fireballs such as "No 'W'" and "Rio Grande Blood." The riffage is devastating, overwhelming and relentless. 

Jourgensen bitterly vents about cheating managers and music industry corruption in a prepared video statement in the venomous show opener "Ghouldiggers," before Ministry's thickened, serrated aural attack slams through "Lies Lies Lies," "99 Percenters" and "Life is Good" as if caught up a high-speed police chase. Sensing that the audience is tired of Ministry's newer material, Jourgensen hauls out older favorites like "New World Order 'N.W.O.'," "Thieves" and "Just One Fix," and these versions are hypnotic and trashy. While blaring sirens and whistles and all manner of banging, piercing sounds make for a harsh cacophony of frenzied disturbances, Jourgensen and company plow through the fearsome noise that surrounds these songs with tight, brutal efficiency and jack-hammer guitars. 

And then there's the additional Wacken 2006 material, a hairier and wilder set that's visually exciting, if a little rough around the edges. In sharp contrast with the Wacken 2012 concert, this set, although longer, is dogged by audio problems; half of it is suffocated by high levels of distortion, as songs just seem to bleed into each other. Emerging through dense radiation clouds that obscure Ministry's bad sonic intentions, "Lies Lies Lies" and "Worthless" eventually come into greater focus and become more powerful than ever, while the dream-like "Khyber Pass" is absolutely enthralling. "Psalm 69," "Wrong" and other monstrous Ministry furies are intense and mesmerizing, as the band recovers from its confused beginnings. 

With its history of aural violence behind them, Ministry has said its goodbyes. Losing Scaccia led Jourgensen to finally drive a stake through the blackened heart of a band that was confrontational, funny, wonderfully obnoxious, stridently political and always interesting. This sick, savage world might soon discover just how much it misses them.

- Peter Lindblad

CD Review: Ministry – From Beer to Eternity

CD Review: Ministry – From Beer to Eternity

AFM Records

All Access Rating: A-

Ministry - From Beer to Eternity 2013

Al Jourgensen is, in a sense, taking old Betsy out to the woods to put a bullet in her brain. It seems Ministry, the outlaw gang of trailblazing industrial-metal miscreants he’s fronted for years, has outlived its usefulness and will now be stripped for parts. Maybe Nine Inch Nails can use a drum machine.

It’s a terribly sad time for industrial music, actually, as the AFM Records release From Beer to Eternity, reported to be Ministry’s last album, was finished in the aftermath of guitar Mike Scaccia’s death, having collapsed onstage with his old mates in Rigor Mortis late last December. With a heavy heart, Jourgensen threw himself into his work, crafting and honing material Ministry had already worked up in a spate of intense creativity until this massive sonic weaponry was ready to be launched. And here it is, Ministry’s last will and testament, and what does Jourgensen leave to his followers? These words of wisdom: “Enjoy the Quiet.”

A refreshing wall of watery white noise washes over whoever is still listening by the time the closing track to the multi-layered, ferociously opinionated From Beer to Eternity comes on and when it’s over, Jourgensen welcomes the arrival of silence. What comes before it is anything but tranquil, thanks to a cacophony of rampaging metal riffs and a wild thicket of clashing sounds both human and synthetic, as television news clips mingle with alien blips and snorts. Glitchy electronica and clanking factory noises greet those who dare to enter Jourgensen’s tongue-in-cheek “Hail to His Majesty (Peasants)” and are subjected to his hoary invitations to perform oral sex on him, as grimy, heaving guitars swing dangerously about. He certainly has a way with words, doesn’t he?

Never one to hold his tongue, Jourgensen does turn serious on the growling anti-war essay “Permawar,” which begins life as a grim, dark dirge and gradually takes on a more urgent tone, casting a wide swath of UV-powered vocals and fluorescent guitars over troubled lands. A grinding, thrashing tantrum, the torturous “Perfect Storm” predicts an apocalypse of Biblical proportions if something isn’t done about global warming, where a wiser “Lesson Unlearned” imbibes deep soul and hard funk grooves before dipping them in a wah-wah acid bath full of six-string razors. He has a lot of tricks up his sleeve.

Gleefully overloading the senses, as he’s done so often with Ministry, Jourgensen makes heads spin on the surrealistic mash-up “The Horror” – which segues out of his fast and furious Fox News diatribe “Fairly Unbalanced” – and the speed-metal crash site that is “Side Fx Includes Mikey’s Middle Finger (TV 4).” And just when you think he’s all out of ideas, in walks the moody, echoing dub experiment “Thanx but No Thanx,” which attacks bigots of all stripes over a bubbling bass line and eventually shifts into a driving metal opus that rides mean, angry riffage into that black hole known as the “American Dream.”

From Beer to Eternity is, not surprisingly, a dark record, and the booklet that accompanies it, with the disturbing portraits of beautifully feral women representing each of the Seven Deadly Sins, certainly doesn’t lighten the mood. That said, there’s no shortage of funny moments on From Beer to Eternity, and with a title like that, he’s not exactly moping over Ministry’s passing.

Seeing as this is Ministry’s last goodbye, Jourgensen is playfully using every tool at his disposal. That everything-but-the-kitchen-sink approach has worked so well for him in the past. Mostly, these are well-plotted tracks, diverse and thoroughly engrossing; however, there are moments when the parts don’t always fit together as seamlessly as one would hope. Worse yet, there are periods of drifting and stagnation in “Side Fx,” and really, “Hail to His Majesty” could have been thrown away entirely, even if it’s childish humor makes you chuckle – not that Jourgensen cares one jot for those who don’t.

So laugh along with Ministry, or cry at the loss of Scaccia or the dire warnings Jourgensen issues here. Ministry has gone out in a blaze of glory, giving the world one last powerful fix, and they will be missed. All stories need a final chapter, and this is Ministry’s, so in that way, From Beer to Eternity is essential, even if Jourgensen’s occasional lack of seriousness indicates otherwise.

 – Peter Lindblad