In a recent engaging discussion on Full Metal Jackie’s weekend radio show, Ministry‘s legendary frontman Al Jourgensen opened up about his decision to conclude the band’s journey. He elaborated on the challenges and motivations behind this choice, providing insight into his artistic evolution and future plans.

Al Jourgensen has revisited his iconic synth-driven music from the past with the release of The Squirrely Years Revisited. He is in the midst of creating one last Ministry album, collaborating with former ’90s bandmate Paul Barker to finalize this chapter of his musical legacy.

“My ears are tired from music,” Jourgensen expressed candidly. He clarified that this decision to end Ministry isn’t fueled by health issues or interpersonal conflicts within the band. Instead, he feels a creative fatigue, stating, “I’m increasingly finding myself having to restrain from repeating past works and striving for new frontiers in my music. The journey becomes more challenging with time.”

He reassured fans that the forthcoming album is already shaping up to be exceptional. “We’re halfway through the recording process, and it’s sounding fantastic,” he remarked, highlighting the distinct vibe of the new material compared to earlier works. “It feels more like a job now rather than the youthful enthusiasm I once had.”

During the conversation, Al and Jackie delved deeply into the inspiration behind the latest album, Squirrely Years Revisited. He credited his current band members for their secretive efforts to rework and modernize old tracks that he had previously distanced himself from following a tumultuous experience with his first record label.

Jourgensen recounted how he once burned the original tapes of his early music but has since rediscovered a love for some of those tracks due to the innovative reinterpretations by his current band. He also shared his favorite reimagined songs from this project.

Additionally, Al expressed his concerns regarding the challenges faced by contemporary artists, emphasizing the critical need to stay informed about political issues. He also provided insight into a film score he has been developing.

Check out more of the enlightening chat below.

It’s Full Metal Jackie, and I’m thrilled to welcome back the iconic Al Jourgensen of Ministry. Al is here to promote Squirrely Years Revisited, a creative reworking of your early synth rock classics. You’ve voiced your complicated feelings about your first Ministry album. What changed for you that made you decide to revisit your earlier material?

Reflecting on the band’s last tour supporting [Rob] Zombie, Al revealed that his current band had been eager to revisit his earlier music for quite some time, although they were aware of his previous disdain for it. They secretly reworked several tracks and surprised him after a show, playing these fresh versions for him when he was in high spirits.

“I was taken aback and asked, ‘Who’s this?’” Al recalled. “They replied, ‘That’s you, silly!’ I hadn’t heard those songs in 40 years, and I was pleasantly surprised. They had reimagined them so well that I thought, ‘This isn’t bad at all.’”

Ministry, “Every Day Is Halloween” (Squirrely Version)

Al, your past aversion to the With Sympathy album seems to stem from the circumstances surrounding its creation and the interference you faced during recording. This experience serves as a cautionary tale for newcomers in the music industry. What lessons did you take away from that situation, and what advice would you give to emerging artists?

My advice would be to reconsider entering the music industry altogether. Reflecting on my journey, I often joke that I would have been better suited as a Walmart greeter. It might have offered me a more fulfilling and stress-free existence.

I would have definitely visited that Walmart!

Indeed, it would have been the cleanest parking lot around, with every shopping cart precisely in place. My true passion lies in producing.

However, as you pointed out, the real issue with the With Sympathy album wasn’t the material itself but rather the constraints imposed on me by the label. They dictated everything from producers to background vocalists, disregarding my original submissions. Many of the rejected tracks eventually found their way onto albums like Twitch and Land of Rape and Honey, which was quite ironic.

They initially signed me because they recognized my uniqueness but then tried to mold me into something I was not. It felt reminiscent of the current trends in the music industry, such as boy bands or K-pop, where artists are often stripped of their individuality. This experience was disheartening and led me to leave the label promptly. I quickly established my own label with two others at Wax Trax, and we forged our own path.

Do you believe that the challenges you faced during your career are still relevant for artists today?

Absolutely, if not more so. With the rise of streaming and now the influence of AI, the music industry has become an increasingly precarious landscape for new artists. What I’m trying to convey is that without some form of congressional support, we may need to find alternative paths to ensure that artists receive fair compensation for their work.

In my early days, touring was primarily about promoting a record. Now, artists are often just touring to sell merchandise, which is a far cry from the past.

It’s become more about merchandise sales than music.

Exactly.

Al, you’ve mentioned that your band ultimately reignited your passion for the music from the With Sympathy era. However, you also talked about burning the original tapes. What was it like to revisit some of this material with your current lineup, and what discussions took place regarding how much to deviate from the original versions?

The fascinating part was that my current band had been working collaboratively behind the scenes for months, brainstorming ideas on how to enhance these songs. When they finally played the reworked versions for me, I barely recognized them.

Upon listening, I realized, “Oh, yes, that’s the song from With Sympathy,” but it felt renewed and invigorated. I was genuinely impressed by their creativity. I never thought I would revisit those tracks after my infamous barbecue incident.

Yes, I did burn the master tapes in a rather dramatic fashion. The smell of burning acetate was something else, and it took me quite a while to clean my grill afterward. We had to reconstruct those songs from scratch.

READ MORE: Ministry Play Rarities With Old School Set at Cruel World Festival

Fortunately, my band had done an excellent job arranging everything ahead of time. Members like Roy Mayorga, Monty Pittman, Cesar Soto, John Bechtel, and even Paul D’Amour, an ex-member of Tool, who has a fondness for the older material, all conspired to make this happen.

When I first heard their work, I was inebriated, and I thought, “Okay, let’s go for it.” I was ultimately pleased with the outcome.

Al, while you have a complicated relationship with some of this material, are there specific songs from the album that you now appreciate or even love in their newly reworked versions?

Indeed, I’ve developed a newfound appreciation for several of the earlier pop hits, even those predating With Sympathy. For example, “I’ll Do Anything For You” stands out as a fantastic pop song that wasn’t included on the original album. The label rejected it, and I never revisited it until now. Re-recording it 40 years later has been a pleasant surprise.

Other tracks like “Revenge” and “Effigy” now carry a more arena rock vibe, transforming them from their disco roots of the early ’80s. This album has definitely exceeded my expectations.

Ministry, “I’ll Do Anything for You” (Squirrely Version)

As we look forward to this year’s tour featuring Nitzer Ebb, My Life with the Thrill Kill Cult, and Die Krupps, how has your musical appreciation evolved over the years? What does it mean to you to share the stage with these fellow artists?

I have always had a deep appreciation for the music of that era, particularly because it inspired my own sound. It was never solely about label demands; I genuinely enjoyed bands like Human League and Gary Numan, with whom we recently toured. Their music was my daily inspiration.

Regarding the bands joining us on tour now, I signed Nitzer Ebb to my label, Wax Trax, so I have followed their journey closely over the years. Additionally, I share a history with the lead singer of Thrill Kill Cult, Frankie Fun, from before my Ministry days. It all connects beautifully.

This tour serves as a cathartic closure to my career as I revisit my earlier works.

Following this tour, I plan to release one final album and embark on one last tour. It won’t be a prolonged farewell like KISS; I won’t be returning for a series of shows. This is an opportunity to tie up loose ends and celebrate my collaboration with Paul Barker, who played a pivotal role in my musical journey during the late ’80s and ’90s.

Paul is now part of these recordings, which adds an exciting element to this final project.

Reflecting on the significance of the Squirrely Years, how is it shaping your writing with Paul for the upcoming album?

In some ways, it feels like a creative tug-of-war. Revisiting these old songs brings forth a whirlwind of emotions, especially since I never anticipated performing them again after my infamous barbecue.

Simultaneously, I am focused on creating future music, which adds to the complexity of this experience. The political climate surrounding the new Ministry material is certainly intense, making it a multifaceted endeavor. However, this project serves as a joyful escape amid the chaos.

It feels like a nostalgic journey, akin to a Hot Tub Time Machine tour.

Al, you’ve consistently woven your activism and political views into your music. Given the current state of the world and the new administration, why is it crucial for people to remain vigilant and vocal about government actions?

Because we’re at risk of losing the democracy that has shaped our lives. At 66 years old, I’ve only known a democratic society, and I firmly believe it is under threat. Everyone must pay attention. If you appreciate this system, consider what life would be like under an autocratic regime.

Currently, we’re witnessing alarming events, such as students being abducted by authorities and detained without accountability. This is a terrifying reality, and I’m sure the upcoming album will reflect these sentiments. However, for now, this tour and album provide a moment to breathe and enjoy life before diving back into the fray.

Al, you’ve ventured into film scoring and expressed enthusiasm for this creative outlet. Are there particular genres or projects you gravitate towards, and how does scoring differ from your musical pursuits?

Interestingly, scoring allows me to avoid interviews—sorry!

In all seriousness, I look for compelling directors, engaging scripts, or meaningful causes behind a project. For example, I’m currently working on a score for a documentary detailing how the Koch brothers exploited Indigenous communities in Osage, Oklahoma. This project includes several songs from the score, set to release next year under the title Long Knife.

As you contemplate the end of Ministry, are there any other aspirations or projects on your wish list?

No, I envision enjoying restful nights filled with sleep and relaxing by my pool. I currently have no grand ambitions outside of exploring art, like painting on canvases. My ears are weary from music.

The decision to conclude Ministry doesn’t stem from health concerns or band conflicts; it’s simply fatigue. I find myself increasingly cautious about not repeating past works and striving to innovate, a challenge that grows more daunting over time.

That said, the next album is shaping up beautifully. We’re halfway through, and it sounds incredible. It’s important to note that this process feels more like a job now, lacking the youthful exuberance of earlier days.

So, I’m thinking, “Let’s do this.” Bringing Barker back into the fold adds an exciting twist, as both of us have grown since our collaboration in the ’90s. This dynamic enhances the creative synergy of our combined talents.

Everything seems to be coming together perfectly for this final chapter. When it’s over, I will have completed my journey, and I plan to enjoy my time by the pool.

Special thanks to Al Jourgensen of Ministry for this insightful interview. The Squirrely Years Revisited is available now. Stay connected with Al and Ministry through their official website, Facebook, Instagram, YouTube, and Spotify. Tune in to hear Full Metal Jackie’s weekend radio show here.