Ministry – AmeriKKKant
Ministry were the first North American band to popularize Industrial music and imagery, albeit a dumbed down version that metal-headbangers could easily digest. But they were a decade late and many brain cells too short to make an impact as profound as the genre’s European originators.
Maybe it was the cultural climate that bred American rock bands back in the 1980s, but acts like Ministry seemed to misunderstand the impetus behind the Industrial movement. The use of irony in Throbbing Gristle’s aesthetic sensibility, for example, went right over Al Jourgensen’s head. He took the leather clad rock star cliché – complete with dark shades, face jewelry and needle drug accouterments to signal transgression – at face value. But AJ and company’s hyper-speed sampledelic shtick came off as lightweight compared to Genesis P-Orridge’s onstage suicide attempt. Now that’s suffering for your art!
Thirty years later and yet another offering (after promising time and time again to go away for good,) AmeriKKKant comes via Nuclear Blast Records. And what a listless affair this crap platter turned out to be. The thing sounds unfinished. Songs like “Twilight Zone” and “Victims of a Clown” are so uninspired they fail to convey any charge of emotion whatsoever. But at this point the outrage of The Resistance™ is so manufactured and quotidian, it figures. Indeed, AmeriKKKant serves notice that this movement is finally petering out.
Our President’s voice is featured prominently throughout but the effect quickly becomes tedious. I mean, I enjoy listening to the Trumpenführer speechify as much as the next guy, but the samples aren’t even particularly provocative or memorable.
The record’s first single “Antifa” is basically an ad for the highly organized, heavily funded and Democrat-backed terror organization that has been given free reign in cities such as; Berkeley, Charlottesville, VA and East Lansing, MI to violently shut down lawful events organized by anyone attempting to advocate for anything remotely pro-white or critical of Cultural Marxism. Though far from instilling fear into ideological opponents, this weak track makes Trad-Identitarianism seem radical in comparison.
The cover art featuring a face palming Statue of Liberty is the perfect visual representation of this aural embarrassment. Indeed, this is the sonic space where old junkies go to die.