Trait’s singles were the only releases by Pailhead besides another single: “I Will Refuse” backed by “No Bunny” from 1987 which features Eric Spicer (Naked Raygun) on drums. Those two tracks were included with the CD release of Trait in the 90′s. From Allmusic: “Pailhead was clearly a fun project to work on for two musicians who were allowed to make some music outside of their respective genres, and though their actual output was rather minimal, the record still stands as a bizarre time capsule of aggressive musical fringes from the 1980s.”

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Allmusic says about the album “The Land of Rape and Honey represented Ministry’s stylistic breakthrough, combining assaultive percussion, samples, synths, and (sometimes) crunching guitars with distorted, barking vocals. For all the emphasis on the group’s metal/industrial fusion, it’s really only the first three (and best) tracks on Rape and Honey – “Stigmata,” “The Missing,” and “Deity” – that employ guitars extensively. The remainder of the album merely suggests heavy metal aggression through its electronic and sampled elements; it is far more industrial in feel, even though it’s just as dark. Ministry was the industrial band that, more than any other, appealed to metal fans, and it was The Land of Rape and Honey that began to lay claim to that status.”

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Opening for Ministry were The God Bombs from New York, young and traditional industrialists whose sound better matched old Ministry than new Ministry. After their set, Joe made the observation that The God Bombs opening for Ministry was akin to 1980′s Stray Cats opening for 1950′s Carl Perkins (I’m not sure that ever really happened) in that there is a 30 year difference in the emergence and popularity of the genres and it’s also the approximate age variant between the performers. Which made us and our friends feel really fucking old.

Also performing before Ministry was Chelsea Wolfe, who I guess is a big deal (her track “Feral Love“ was featured in the trailers for the fourth season of Game of Thrones). Super-heavy ambient goth, like Cocteau Twins wearing 100 pound cement boots.

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The album’s lead track, “Forkboy” was, fittingly, included on the Natural Born Killers soundtrack. “Pineapple Face” refers to Nicaraguan dictator Manuel Noriega who just prior to this record’s recording had been ousted during the US invasion of Panama in 1989 and was subsequently tried and sentenced in the US for drug trafficking and money laundering. Keeping a nice consistent evil-doer thread, the song “Sylvestre Matuschka” is about a Hungarian mass murderer from the 1930′s. “Can God Fill Teeth?” pokes at conspiracy theorists and feels even more poignant in 2016 (“Didn’t I just read/About how the cops are getting parents/To plant bugging devices/In their kids teeth/So if they disappear they can track ‘em/Before they wind up on the backs of milk cartons/And all that/ And didn’t I read/That these devices can go two-way/And everything that I do or say/Is all goin’ on tape somewhere right now”). The record concludes with an industrial-sized meat grinding cover of the manically creepy song “They’re Coming to Take Me Away,” originally performed by one-hit wonder Napoleon XIV (Jerry Samuels) in 1966. Samuels achieved the high-pitched insane vocals by using a VFO. Jello, of course, just sang it as Jello.

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