When 2025 has concluded, it is entirely possible that The Squirrely Years Revisited will be remembered as the most surprising release that it produced. Few could have foreseen industrial-metal pioneers Ministry revisiting their early synthpop material, not least because of the countless times that their ever-outspoken frontman Al Jourgensen has viciously decried it. The resurrection of songs from ‘In Sympathy’ – the band’s debut LP, which Jourgensen has refused to sign for anything less than a $1000 donation to charity – is nothing short of miraculous, and yet here they stand, reworked and remastered, on an album dedicated to their celebration. This unlikely reconciliation with his past is heartwarming on a personal level, but has prompted a fascinating re-evaluation of Ministry’s awkward beginnings. Were the Squirrely Years dense with hidden treasures, or are they best left in hibernation?
The answer to this question lies somewhere in-between. On the surface, it is easy to see why Jourgensen dismissed this collection of songs for so long. This album is relentlessly cheesy, and constantly straddles the border between delightful and ridiculous. To its credit, The Squirrely Years Revisited starts strong, with the funk-inspired guitars of 'Work For Love' as well as 'Here We Go’s piercing synths staying on the right side of the line.
The first sign of trouble comes on 'All Day', which is derailed by its bizarre use of sound effects and vocaloid. The clang of hammer-on-metal which permeates the song becomes headache-inducing very quickly, not helped by the evil chipmunk vocals which accompany Jourgensen. Both of these prove to be recurring problems, with tracks like 'Just Like You' and 'We Believe' being stylistically reminiscent of a child playing with their “My First Keyboard” set, as well as Jourgensen sounding as if he’s recording his vocals from underwater throughout the record. 'Revenge', already a chugging dirge of a song, suffers from this the most, with the misery being compounded by the return of 'All Day’s rogue blacksmith.
Perhaps unsurprisingly, given the direction that earned them their notoriety, Ministry find the most success when leaning into the gothic end of early-80s alt-pop. Both 'Everyday is Halloween' and 'I’m Not an Effigy' sound like The Sisters of Mercy at their most darkly bombastic, whilst 'I’m Falling’s instrumentals could plausibly pass for a rejected Cure cut from the Pornography era. All three tracks serve as a joint high-water mark for The Squirrely Years Revisited, and provide a fascinating insight into an alternative timeline in which Ministry morphed into rivals with late-era Depeche Mode.
Unfortunately, Ministry fail to match these peaks in the second half of the album. Though 'Same Old Madness' is not meritless, it is impossible to shake the lingering feeling that it could be the accompaniment to a particularly difficult Sonic The Hedgehog boss battle. This unease is dwarfed by 'I’ll Do Anything For You', one of the least romantic love songs in recent memory. This album’s palate does not lend itself whatsoever to matters of the heart, with its ludicrous synths and foreboding vocals completely undercutting the track’s central declaration. Following this, the aforementioned 'Just Like You' and 'We Believe' fail to revive the album after this low-point, before one last appearance from Ministry’s resident metalworker on closer 'Over The Shoulder' marks a merciful end to a dismal side B.
Though The Squirrely Years Revisited is a fascinating epilogue to Al Jourgensen’s war with his younger self, it does also serve as a reminder that the opinions we all form when we’re young and stupid aren’t entirely without value. At points in the tracklist, the album shows glimpses of a synthpop band brimming with potential, but these are outweighed by an inescapable maximalism that makes it difficult to take seriously. For fans of industrial metal, it is an inessential oddity, and for fans of 80s alt-pop, it all too often borders on parody.
Score: 3/10
The Squirrely Years Revisited was released on March 28th 2025.
Words: Ali Glen
Photos: Ministry
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