- Released: November 1, 1992
- Label: Warner Bros UK
Spin - 5/01, p.112Ranked #43
in Spin's "50 Most Essential Punk Records" - "...Industrial disco for high school stage-crew guys with tab-a-day acid habits....'Stigmata' is the prototype: gigantic metal riffs, pounding drum machines, distorto vox, and war-movie samples..."
Q - 12/92, p.1493 Stars
- Good - "...a relentless swirl of Motorhead meets Metallica--hurtling rhythms, growled vocals and speeding guitar riffs amid a sea of distorting electro-noise and sampled effects...Raw but riveting..."
Alternative Press - 8/01, p.112
Included in AP's "10 Essential '80s Albums".
Alternative Press - 7/95, p.78Ranked #12
in AP's list of the 'Top 99 Of '85-'95' - "...in the short happy history of industrial rock...there's absolutely no denying that LAND OF RAPE AND HONEY is year zero....A seamless collision of musique concrete, dance music, sampling and heavy metal that expresses the semi-articulate anger of this generation better than any slacker handbook..."
Kerrang (Magazine) - p.53
"[W]ay ahead of its time, marrying repetitive electronics with ultra heavy music."
- 2.The Missing
- 4.Golden Dawn
- 7.The Land of Rape and Honey
- 8.You Know What You Are
- 9.I Prefer
Ministry: Alain Jourgensen (vocals, guitar, keyboards); Paul Barker (bass, programming, background vocals).
Additional personnel: Chris Connelly (vocals); William Reiflin (drums).
Producers: Hermes Pan, Eddie Echo, Hupo Luxa.
Engineers include: Alain Jourgensen, Steve Spapperi, Julian Herzfeld.
Recorded at Chicago Trax Studios, Chicago, Illinois, and Southern Studios, London, England.
Personnel: Al Jourgensen (vocals, guitar).
Recording information: Chicago Trax Studios, Chicago, IL; Southern Studio, London, England.
Unknown Contributor Roles: Chris Connelly; Bill Rieflin.
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. ~ Steve Huey