Today it’s exactly 36 years since Industrial/Metal band Ministry released Burning Inside!
Burning Inside (12”) was released on 7th November 1989, as the sole single from the band's 1989 album The Mind Is a Terrible Thing to Taste. The song is featured in the intro movie of the video game Scarface: The World Is Yours.
A video for the song was released in late 1989 and became a hit on MTV's 120 Minutes. The video features the band's live show with the infamous steel fence used on the 1989-1990 tour and later a live version of the song featured on In Case You Didn't Feel Like Showing Up. Also shown in the video are a chaotic audience, a few people on fire and the band performing onstage.
In 1993 all tracks from the original 12” were re-released as part of the 3 x CD single compilation ‘Box’.
Burning Inside 12"
1. Burning Inside (12" Remix) 6:45
2. Thieves (12" Remix) 5:33
3. Smothered Hope (Skinny Puppy cover; recorded live in Chicago, 1988 with guest appearance of Skinny Puppy singer Nivek Ogre) 5:00
Burning Inside
Will these dreams still follow me
Out of dark obscurity?
Can't you see it up in the sky
As it kicks you in the face and lets you die
You never have the answers
And now you tell me the facts of life
I really couldn't be bothered with you
Get out of my face and watch me die
Burning inside! Burning inside!
Absolution and a frozen room
Are dreams of men below
I try to grab it but the touch is hot
The mirrors collapses, but the image can not
I'm scared of darkness in a light
I scare myself cause I know I'm right
I see the evil in your savage eye
As it cuts right through the sky
Burning inside! Burning inside! Burning inside! Burning inside!
Burning inside! Burning inside! Burning inside! Burning inside!
Calling the mantra with a blade in the skin
For the demons within
I feel the pain is the death and decay
But the lesson never fades away
Too little shadows, turn away
Another man through the window pane
Another slave and a victim of fate
Another lesson in hate
Burning inside! Burning inside! Burning inside! Burning inside!
Burning inside! Burning inside! Burning inside! Burning inside!
(Allen Jourgensen / Christopher Connelly / Paul G. Barker / William Riefflin)
Today it’s been exactly 34 years since Industrial/Metal band Ministry released Jesus Built My Hotrod!
Jesus Built My Hotrod was released on November 7th 1991 as the first single from their fifth studio album Psalm 69: The Way to Succeed and the Way to Suck Eggs. It was written by the band's frontman Al Jourgensen, bassist Paul Barker, drummer Bill Rieflin, session keyboardist Michael Balch, and the Butthole Surfers lead singer Gibby Haynes, and was co-produced by Jourgensen and Barker. The industrial metal track features elements of rockabilly and psychobilly, and is influenced by the Trashmen 1963 hit "Surfing' Bird", and Flannery O'Connor novel Wise Blood; the song’s instrumentation is defined by its polyrhythmic structure.
The single reached No. 19 in the Billboard Modern Rock Tracks chart with approximately 128,000 copies sold as of mid-July 1992, preceding the later success of Psalm 69.
Jesus Built My Hotrod 12”
A. Jesus Built My Hotrod (Redline/Whiteline Version) 8:13
B1. Jesus Built My Hotrod (Short, Pusillanimous * So-They-Can-Fit-More-Commercials-On-The-Radio Edit)
B2. TV Song
Lyrics
Soon I discovered that this rock thing was true
Jerry Lee Lewis was the devil
Jesus was an architect previous to his career as a prophet
All of a sudden, I found myself in love with the world
So there was only one thing that I could do
Was ding a ding dang my dang a long ling long
Ding dang a dong bong bing bong
Ticky ticky thought of a gun
Every time I try to do it all now baby
Am I on the run
Why why why why why baby
If it's so evil then?
Give me my time, with all my power
Give it to me all again (wow)
Ding a ding a dang a dong dong ding dong
Every where I go
Every time you tell me baby
When I settle down
Got to get me a trailer park
And hold my world around
Why why why why?
Ding ding dong dong dong ding dong
Dingy dingy son of a gun
Half my time I tell you baby
Never am I all for sure
Why why why why why baby
Sicky sicky from within
Every time I stick my finger on in ya
You're a wild wild little town bitch
Now how 'bout ding a dang dong dong dong ling long
Dingy a dingy dong a down
Every time you tell me baby
When I settle down
Got to get me a trailer park
And hold my world around
Why why why why?
In my dang a ding a ding a ding dong
A sticky sticky son of a gun
Ding a danga danga dong dong ding dong
Why why never know
Why why wack a dong a dang ding dong
Then you take it on the bill
Ding dang dong don't dong
Whoa!
I want to love ya!
Why why why, why why darling
Do you do you tell me to play?
Half the time I talk about it all now baby
You know what I'm talkin' about I said
Why why why it'll
Ticky ticky ticky ticky son of a gun
Ding ding dong a bong bong bing bong
Ticky ticky thought of a gun
Bing bing bang a bang a bang bing bong bing a bing bang a bong
Binga bing a bang a bong bong bing bong bing banga bong
Bing bing bang a bong bong bing bing binga binga banga bong
Bing bing bang a bang bang bing bong
Ding dang a dang bong bing bong
Ticky ticky thought of a gun
Every time I try to do it all now baby
Am I on the run
Why why why
It'll ticky ticky ticky ticky ticky ticky
Dawn of a gun
Bing bing bang a bong a bong bing bang a
Ticky ticky thought of a gun
Bing bip bip a bop bop boom bam
Ticky ticky through the day
If you got a doubt 'bout baby
The memory is on the bed
Why why why why why
Darlin' uh it don't know
When my time is on
Might tell me never do it on his own
If my time was all as is yours
Make me burn a wish
When my time with you is brutish
No I'll never not ever
Why why why why why why baby heavy hell
Alone and it's here it's this thunder
The thunder oh thunder
Oh!
Jesus built my car
It's a love affair
Mainly Jesus and my hot rod
Yeah, fuck it!
(Allen Jourgensen / Paul Barker / William Fredrick Rieflin / Gibson Haynes / Michael Bruce Balch)
Tragic Loss in the EBM Scene: Willem Witte of Panster Fabriek Passes Away at 47.
The underground electronic music world is in mourning as it emerges that Willem Witte, founding member and key creative force behind the Dutch EBM project Panster Fabriek, has passed away on October 29th 2025. Witte—known for his pounding EBM synthesizer work and commanding stage presence—was a pillar of the band since its inception in the late 1980s, guiding their evolution from raw industrial beats to a polished electro body-music sound that placed them firmly in the pantheon of Dutch alternative electronic acts.
Over the years, Panster Fabriek released several seminal works that combined militant rhythms, haunting vocals, and dark atmospheric textures—records that inspired generations of EBM fans across Europe. His drive to push sonic boundaries, and his ability to craft stark, pulsing songs that resonated far beyond the club floor.
Tributes are already pouring in on social media from fellow artists, promoters and fans, all recalling Witte’s generosity, talent, and enduring influence. A memorial gathering is being arranged at a venue in the Netherlands on November 8th (More info here), where his life and work will be celebrated.
For those who danced to his percussive pulses and cold synth lines, Willem Witte will always remain a driving force behind one of the genre’s most resilient and respected bands.
Our condolences go out to his family, friends and fans worldwide!
RIP Willem Witte (30. January 1978 - 29. Oktober 2025)
De underground elektronische muziekwereld is in rouw nu bekend is geworden dat Willem Witte, oprichter en drijvende creatieve kracht achter het Nederlandse EBM-project Panster Fabriek, op 29 oktober 2025 is overleden. Witte – bekend om zijn dreunende EBM-synthesizerklanken en indrukwekkende podiumprésence – was sinds de oprichting van de band in de late jaren ’80 een steunpilaar. Hij begeleidde hun evolutie van rauwe industriële beats naar een gepolijste electro body-music sound, waarmee ze zich stevig vestigden in het pantheon van Nederlandse alternatieve elektronische acts.
In de loop der jaren bracht Panster Fabriek meerdere baanbrekende releases uit waarin strakke, militante ritmes, ijzingwekkende vocalen en donkere atmosferische sferen werden gecombineerd – platen die generaties EBM-fans in heel Europa hebben geïnspireerd. Zijn drang om muzikale grenzen te verleggen en zijn vermogen om kille, pulserende songs te creëren die ver voorbij de dansvloer weerklonken, maakten hem tot een unieke artiest.
Op sociale media stromen de eerbetonen al binnen van collega-artiesten, organisatoren en fans, die Witte’s gulheid, talent en blijvende invloed loven. Op 8 november wordt er een herdenkingsbijeenkomst georganiseerd op een locatie in Nederland (meer info hier), waar zijn leven en werk zullen worden gevierd.
Voor iedereen die heeft gedanst op zijn percussieve pulsen en koude synthlijnen, zal Willem Witte altijd een drijvende kracht blijven achter een van de meest veerkrachtige en gerespecteerde bands binnen het genre.
Onze oprechte deelneming aan zijn familie, vrienden en fans wereldwijd!
R.I.P. Willem Witte (30 januari 1978 – 29 oktober 2025)
On this day, 39 years ago, on November 4th, 1986, the industrial music landscape was irrevocably altered with the release of Big Sexy Land, the debut album by the Revolting Cocks. Released on the influential Chicago-based label Wax Trax! Records, the album was the result of a formidable collaboration between Ministry’s Al Jourgensen, Front 242’s Richard 23 (Richard Jonckheere), and Belgian multi-instrumentalist Luc Van Acker. Also Patrick Codenys, Front 242 bandmate of Richard 23, contributed to the album, laying down samples and synth on the record, further enriching its electronic and experimental depth.
The origins of Revolting Cocks were as unconventional as their music. The name itself reportedly stemmed from a drunken insult at a Brussels bar, and that irreverent spirit bled directly into the band’s identity. Big Sexy Land combined pounding drum machines, distorted vocals, metallic rhythms, and innovative sampling—elements that were groundbreaking at the time. Songs like “No Devotion,” “Attack Ships on Fire,” and the title track brought a fusion of European electronic body music (EBM) and American industrial aggression.
Wax Trax! Records, already a hub for alternative electronic and industrial acts, provided the perfect platform for this provocative project. The album's stark aesthetic and politically charged overtones—referencing Cold War anxieties, surveillance, and cultural decay—resonated with a growing underground audience. Despite minimal mainstream exposure, Big Sexy Land became an underground success and an essential release in the evolution of industrial and EBM.
The chemistry between Jourgensen, Richard 23, Van Acker, and the added input from Codenys created a uniquely compelling sound. Jourgensen’s sharp production, Richard 23’s rhythmic sensibilities, Van Acker’s melodic edge, and Codenys’ sample-driven synth work made the album both chaotic and precise.
Nearly four decades later, Big Sexy Land remains a landmark debut: raw, experimental, and unapologetically subversive. It marked the beginning of a band that would evolve through controversy, lineup changes, and stylistic shifts—but never lose its edge.
Revolting Cocks - Big Sexy Land
| 38 | 4:07 | ||
| We Shall Cleanse The World | 5:32 | ||
| Attack Ships On Fire | 4:52 | ||
| Big Sexy Land | 3:49 | ||
| Union Carbide [West Virginia Version] | 3:24 | ||
| T.V. Mind | 5:39 | ||
| No Devotion | 6:48 | ||
| Union Carbide [Bhopal Version] | 3:39 |
The elder-statement of Goth, Bauhaus released 'In The Flat Field' 45 years ago on 3 November 1980. The echo of this masterpiece still vibrates through modern music. The album was recorded between December 1979 and July 1980 and record label 4AD's first full length release.
This was the punk death-bell soaked in screeches of feedback and vocals scattered in doom and angst, the zero-hour for goth as a genre. The collision of art-experimental and the glam of the 1970s sunk with the darkness of the mind created the big bang, Bauhaus wove it all together to create theatrics in the sound, atmospheric and tense. They were the real McCoy in a world of pretenders.
'In The Flat Field' arrived almost fully formed, for a debut it was a well-realized piece of work. 'Double Dare' acts as the perfect entrance to their world or into ours. Feedback screeches and descending, menacing guitar-riffs herald their arrival, Pete Murphys vocals are astonishing coming directly from the abyss itself.
The title-track takes things to another level, more Bowiesque and rock-orientated, still it is drenched in a weird-collage of feedback squeals, whereas 'A God In An Alcove' is a surrealist terrifying journey, slower paced for that maximum impact.
The interspersed electronic sounds of 'The Spy In The Cab' create a minimalist background for Murphy to paint his pictures of despair, the noise-generated guitar of Daniel Ash is eerie at best, using the instrument as a machine and not in the conventional sense.
David J gives a hypnotic bass-riff, funky at times to the proceedings, a perfect base for Ash to perform his guitar-acrobatics of doom, thirty-eight years later 'In The Flat Field' still stands as a masterwork of terrifying art.
"A gut pull drag on me
Into the chasm gaping we
Mirrors multy reflecting this
Between spunk stained sheet
And odorous whim".
Tracklist:
1. "Double Dare"
2. "In the Flat Field"
3. "A God in an Alcove"
4. "Dive"
5. "The Spy in the Cab"
1. "Small Talk Stinks"
2. "St. Vitus Dance"
3. "Stigmata Martyr"
4. "Nerves"
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