Al Jourgensen has stated in recent years that he is looking to end Ministry soon but that may be a bit premature as things line up powerfully on the group’s 16th studio album. HOPIUMFORTHEMASSES is the sound of Ministry laying out all their past influences and tackling the burning issues in 2024.
This being Jourgensen you know the topics he will lyrically rage against, brainwashed masses, the political hackery of Trump, and the right’s growing love of fascism, but while modern society is ripe for Jourgensen’s fury, his touring band supporting him on this record adds needed fire. John Bechdel [keyboards], Monte Pittman [guitar], Cesar Soto [guitar], Roy Mayorga [drums], and Paul D’Amour [bass] pepper Al’s synth work with razor wire riffs and deafening low end, propelling the samples and growls.
The most arena-ready album from Ministry in decades kicks off with “B.D.E” as Jourgensen rips apart toxic incels and misogynists around a slow stomping metal groove that kicks up with punkish speed to spruce up the sound while “Goddamn White Thrash” uses a motoring loud low end, synth blasts, samples, guest vocals from Pepper Keenan and an electro/industrial chant along mantra.
“Just Stop Oil” excellently recalls the prime era of the group with skittering guitars, layers of synth, and a bizarre dance beat around snaking riffs that morph into slamming drums while “Aryan Embarrassment” is huge with clanging, marching, percussion, and layers of chugging guitar as Jello Biafra joins Al in roasting MAGA followers, Nazi’s, and those not confronting our history as a country.
Those topics stick around for both the slamming thrash metal of “TV Song 1/6 Edition” and the arena rock groove with heavy metal thundering of “New Religion”. Both songs rightfully criticize January 6th insurrectionists, Fox News, and politicians who reinforce the Big Lie in back-to-back tracks; Jourgensen’s politics are very clear.
“It’s Not Pretty” is one of the more dynamic efforts, starting with an acoustic guitar and an ‘end of day’s’ sermon, before morphing into a huge metal effort with synths and disco touches in an energizing industrial fashion that both bangs and feels nuanced. Less successful is “Cult of Suffering” which features Eugene Hütz spouting engaging lyrics, but doing so over a slow, stuttering, blues rock groove that feels as out of place here as the song’s backup gospel singers.
The album ends with a throwback as Jourgensen goes full synth-pop/new wave, delivering a cover of Fad Gadget’s “Ricky’s Hand”. It would be a fitting career closer, bringing it full circle for Ministry, who still seems in full flight as HOPIUMFORTHEMASSES, while not up to the band’s overall best (Psalm 69, Rio Grande Blood), is a very solid Ministry album during these insane times.
One Response
Refreshing and not the same old tricks also nice to hear Jello spit some poison.I already got my ticket, might as well ride the ride.Hold on tight.