Live Review: Ministry – 19th July 2008, Tripod, Dublin

Ministry
19 July 2008 – Tripod, Dublin

So here it is – the last sucker – in more than name, as tonight we’re presented with Ministry’s final gig. Ever. Progenies of thumping, seiminal industrial metal whose legacy can still be heard ringing loudly in everything from Rammstein to Red Harvest. Anthemic stompers such as ‘Thieves’ and ‘Just One Fix’ have sealed their legendary status, and they will be sorely missed. It’s hard to believe that this is their swansong, and indeed Ministry go out in style tonight, as their raucous, politically soaked anthems wash over the sizeable throng amassed in Dublin’s Tripod.

Yet bizarrely, Ministry begin by treading water, setlist-wise that is. Al Jourgensson emerges behind a large chickenwire fence, separating him from the audience, his trademark Stetson and mic-stand resplendent in its antlery glory. He is flanked by his assembled bandmates, most noticeably the ever gurning figure of Prong’s Tommy Victor on guitar. 3 cuts from The Last Sucker open proceedings, best of all being ‘Let’s Go’. The Last Sucker is easily the least interesting of Ministry’s trio of anti-Bush tirades, and it’s a little disconcerting that they chose to open their finale in such a tepid fashion. Luckily, however, ‘No W’ heralds a batch of Houses of the Mole material and things suddenly erupt, both onstage and off. ‘Waiting’ and ‘Worthless’ are both up there with Ministry’s best, and things only get better as ‘Rio Grande Blood’, ‘Senor Pelegro’ and ‘Lies Lies Lies’ puncture the air. The latter is the apex of the night’s first half, as the greatest ‘9/11 was a conspiracy’ rant ever literally flattens an all too receptive crowd.

Ministry’s pot-shot at Bush Snr soon emerges as the steamroller riffs ‘n samples of ‘N.W.O.’ fly off the stage. By now the relentless strobes, menacing background imagery and aforementioned wire meshing give the impression that one is participating in a sort of metal rave, and it’s hard to know whether moshing or dancing would be more appropriate. Al’s voice is as abrasive and threatening as you’d want, and Tommy Victor stomps around the stage looking worryingly unhinged. ‘Just One Fix’, surely the highlight of the evening, has a riff that the likes of Rammstein have been basing their entire careers on for years. The figure of William Burroughs looms above the stage, and from here on in the whole thing is a treat. ‘Thieves’ rolls out of the speakers at full force, and the band close with a storming rendition of ‘What a Wonderful World’. People have decried the emphasis on their last 3 albums, as well as the omission of anything from Filth Pig, The Dark Side of the Spoon, or even their fantastic breakthrough album The Land of Rape and Honey. This may have been somewhat of a glaring oversight on their part, being as it was their last show and everything, but when they did pull out the big guns it was tantamount to a revelation. The world needs bands like Ministry to be a razor sharp thorn in the side of conservatism, and one of the few bands who truly exuded the kind of punk ethic that’s bandied about by so many but actually lived by so few.

Album Review: Gorgoroth – True Norwegian Black Metal: Live in Grieghallen

Gorgoroth – True Norwegian Black Metal: Live in Grieghallen
Regain Records – RR100 – 23 June 2008

I must admit to being a little bemused by this latest offering from black metal stalwarts Gorgoroth; the recent release of their infamous 2004 Krakow show would render this release redundant, no? Turns out the ‘Live’ part of the title is slightly misleading, as what transpires is actually a re-recording of some of their older material ‘live’ in studio. Hence the lack of crowd noise and the bizarrely decent production. Gorgoroth, like too many of the black metal older guard, may have let their infamy overshadow their musical acheivements at times, but they’ve still had their moments of ferocity. Antichrist and Pentagram are two particularly nasty black metal releases, and it’s rather pleasing to hear them again. A clear yet gritty production works wonders, and vocalist Gaahl proves himself as one of the genres more unsettling frontmen, his waspish rasp cutting through these tracks with aplomb. Perhaps it’s more fitting to view Live in Grieghallen as a ‘best-of’ of sorts, and it serves as a decent introduction to one of the most engaging ‘true’ black metal bands out there.

‘Destroyer’ is particularly vicious, whilst ‘Bergtrollets Hevn’s sub-punk assault recalls a time when Darkthrone hadn’t yet begun parodying themselves. ‘Unchain My Heart!!!’, despite its goofy title, isn’t a cover of some 80s power ballad, but is beset thankfully by a distinctive groove. It’s all quite good in fact, Gaahl’s drunken attempt at ‘epic’ clean vocals ‘Profetens Apenbaring’ excepted. Yet was this whole thing necessary? The quick answer is no, especially since the albums from which these tracks were culled were re-released not so long ago. Furthermore, 31 minutes of music does not a good value album make, rendering Live in Grieghallen one for the completists out there. Yet those unacquanited with one of Norway’s long standing exports looking for a starting point might do well to pick this up, along with ’06’s superb Ad Majorem Sathanas Gloriam. If you’re wondering why I omitted the elephant in the room that is their recent split/divide/schism/whatever, along with the myriad other controversies that have dogged this band throughout the years, well, that’s what Wikipedia is for isn’t it?

Official Gorgoroth Website
Official Regain Records Website
Official Gorgoroth MySpace

Album Review: Aborted – Strychnine.213

Aborted – Strychnine.213
Century Media – CM9977901 – 24 June 2008

Is three albums in three years overkill? It doesn’t have to, but in Aborted’s case it just might be. Strychnine.213 follows hot on the heels of ‘07’s Slaughter and Apparatus, which itself came shortly after ‘06’s The Archaic Abattoir. The latter was a mighty fine romp into melodic death metal of the Carcass variety, and firmly ensconced Aborted at the top of their game. Ridiculously catchy riffs were underpinned by stellar leads that somehow retained a murky brutality thanks to Sven De Caluwe’s nasty growls, rasps and screams. Yet it’s ‘03’s Goremageddon that will always best represent these Danes, being something of a minor classic in its field.

On Strychnine.213, Aborted retain the core elements of their sound, but the results are nowhere near as memorable. Initial listens prove unrewarding, disappointingly yielding a dearth of truly standout moments. Aborted are noticeably trying to shift their emphasis from bludgeon to a more atmospheric, dare I say brooding attack. ‘Carrion’ does this rather well, as spoken words are bolstered by groove-laden riffs and searing lead-work. ‘A murmur in Decrepit Wits’ also utilises this approach well, as the time-honoured tradition of movie samples is reprised in a decidedly eerie bout of mid-paced riffery. The standard issue Aborted numbers fare rather less well, however, and they are evidently less memorable than their forbearers. Repeated listens yield some goodies, and the likes of ‘Ophidolatry’ is up there with some of their best, but at times Strychnine.213 comes over somewhat rushed. The great thing about Aborted has always been their propensity towards an instantly gratifying adrenaline rush, and the more nuanced approach icomes across a little out of character. A more thought out and planned attack for the future will no doubt have these fellows back in flying form, but at the moment they’re sounding a little like they’re on autopilot.

Official Aborted Website
Official Aborted MySpace
Official Century Media Website