...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


Ten czwarty album studyjny definitywnie przekształcił Ministry z -industrial dance band w najnowocześniejszy zespół metalowy. Głównym powodem jest to, że zapewnia najlepszą równowagę między przemysłową i metalową połową pracy "Ministerstwa". Gitary Thrashy są teraz w pełni zintegrowane z brzmieniem zespołu, a głos Alien Jourgensena ma ciężki metalowy ryk. Łącząc thrashowe gitary i doskonałe syntezatory i perkusję, Ministry położyło podwaliny pod jeszcze więcej zwolenników muzyki zespołu.

Piosenka, która najlepiej podsumowuje album jako całość, to „So What”, ośmiominutowa epopeja, która łączy wściekły thrash-metalowy refren z cichszymi, rozbudowanymi sekcjami z samplami. To bardzo ważne wydawnictwo i miało duży wpływ na muzykę, jaką słyszymy dzisiaj.


The latter half of 1989 was a crucial period for what we now call industrial metal. Three genre-defining albums, "L'eau Rouge", "Streetcleaner" and "The Mind is a Terrible Thing to Taste" were released within two months of each other. All three emerged from different parts of the world, from different scenes, and had a different take on the 'industrial meets metal' idea. There was no formula for the genre at this point. There were a myriad of possibilities and choices. Curious fans could choose from The Young Gods and their experiments with symphonic avant-garde weirdness, or Godflesh plowing the depths of Swans-ish hell. Or they could choose the joker in the pack, Ministry, emerging from the outer reaches of the dance music scene.

This fourth Ministry album marks the point when Al Jourgensen's crew embraced metal. There had been some distorted guitar and aggressive vocals on their previous album ("The Land of Rape and Honey"), but these sounded more like punk than anything else. The band’s development between the two albums is obvious within a nanosecond of "Thieves", the opening track here. This is a metallic statement of intent, sampling and looping a tight thrash riff throughout. This track is also longer and more complex than the guitar-orientated songs on the previous album. There are tempo changes and groovy parts. Jourgensen distorts his vocals even further than before, spliced alongside the usual array of samples and snippets. If there was ever such a thing as ‘techno thrash’, this is it.

The intensity increases on "Burning Inside". This is the best track on the album and a career highlight. It is propelled by a shimmering, stuttering breakbeat that runs throughout. This percussive pattern leaves just enough space for a simple distorted guitar line, while Jourgensen’s vocal effects make him sound like he is drowning. This is urgent music, aided by his ability to write rhyming lyrics that conform to a consistent metric foot. Few metal lyricists bother to do this, but it adds an extra layer of rhythmic drive (beyond the riffs and percussion). The best moment is the one-note drop that appears at the 3:45 mark, lasting for about twelve seconds. Such melodic minimalism is rare in metal, but common in nic dance music. It sounds amazing.

This album is a daunting prospect at over 50 minutes long. There is no filler. It builds momentum through sequencing and pacing. The brutal metallic riffs of "Never Believe" and "Breathe" are heavier, scarier and more intricate than anything from the previous album. The former has a decent guitar solo, the latter has incredible drumming and a perfect vocal bridge that escalates the tension towards the end. The experimental sample-feasts of "So What" and "Test" are unique. The former has some lovely, subtle guitar work. The latter introduces aggressive hip-hop vocals without sounding cheesy (though there is one sample that sounds like someone shouting "WANKER" repeatedly, which is amusing). Elsewhere, we get the slow, gothic plod of "Cannibal Song", and the ambient collage of "Dream Song" which closes the album in serene style.

In retrospect, it is tempting to compare and contrast this record with the subsequent Ministry album (“Psalm 69”, released three years later). "The Mind is a Terrible Thing to Taste" is a darker and more complete experience, one for the purists. "Psalm 69" made a bigger impact, took the metallic excesses much further, and contained the most iconic Ministry moments. Perhaps it is futile to compare them. All that matters is that "The Mind..." was Ministry's third smash in a row (and would be followed by a fourth). Classic.

robotiq

1. Thieves
2. Burning Inside
3. Never Believe
4. Cannibal Song
5. Breathe
6. So What
7. Test
8. Faith Collapsing
9. Dream Song

Alien Jourgensen - vocals (1-3, 5, 6), guitars, programming, production
Paul Barker - bass, programming, production

Additional personnel:
Bill Rieflin - drums, programming, background vocals (8)
Mars Williams - saxophone (4)
Chris Connelly - lead vocals (3, 4), background vocals (5, 6)
The Grand Wizard (K. Lite) - vocals (7)
Joe Kelly - background vocals (1)
Kyle McKeough - background vocals (6)
Jeff Ward - background vocals (5)
Dave Ogilvie - background vocals (5, 8), engineer
The Slogan God (Tommie Boyskee) - vocals (7)
Bobbie DiBartollo - background vocals (8)
Angela Lukacen - vocals (9)


https://www.youtube.com/watch?v=x7P9gi95Y1A


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