Artist

Lard

United States

Lard is a music group from United States. Their discography on Gatefold includes 4 records.

Photo of Lard

4

Albums tracked

25

In collections

Since

Biography

Lard are a hardcore punk/Industrial band founded in 1988 as a side project by Jello Biafra (vocals), Al Jourgensen (guitar), Paul Barker (bass), and Jeff Ward (drums). Biafra is best known as the former frontman of the punk rock band Dead Kennedys. Jourgensen is the founder and only continuous member of industrial metal band Ministry, of which Barker was an official member between 1988 and 2004, and Ward was also once a touring member. Over the years

The Arc of Lard

The pivots — what forced Lard to reinvent.

  1. The Chicago Trax Collision

    In 1989, Jourgensen and Barker dragged Biafra into the legendary Chicago Trax studio to see what happened when you paired hardcore punk tempos with heavy industrial sequencing. The initial sessions produced the EP The Power of Lard, a raw blast of speed and noise recorded before the lineup solidified. Jeff Ward’s acoustic drumming mixed with programmed electronic percussion created a manic, unstable rhythmic base that pushed Biafra to scream at the absolute top of his register. You can hear the pure, unedited studio adrenaline on the title track.

  2. The Peak Temptation

    By 1990, the project expanded into a formidable studio beast with the addition of drummer Bill Rieflin for the recording of The Last Temptation of Reid. Jourgensen was pushing the limits of his mixing board, layering massive thrash metal guitars over heavy synthesizer sequencing to create a much denser, more terrifying wall of sound. This was the record where the joke turned into a threat, especially on the nine-minute epic "Forkboy," which utilized a relentless, pounding loop that Ministry would spend the next decade trying to replicate. The album became the definitive document of the punk-industrial crossover movement.

  3. The Six-Year Hangover

    A six-year gap of silence, fueled by Jourgensen's severe drug addiction and Ministry's massive touring schedule, almost killed the band before they finally tracked Pure Chewing Satisfaction in 1997. Rey Washam took over on drums, bringing a different, swing-heavy pocket to the rhythm section that clashed perfectly with the cold, rigid sequencing. The production was cleaner but far more abrasive, swapping some of the speed-metal tempos for a mid-tempo, sludge-heavy groove. It proved the band could still deliver venomous political satire without relying solely on the thrash tempos of their youth.

Influences

  • DischargeJello Biafra has repeatedly cited these UK D-beat pioneers as a major blueprint for his vocal delivery. You can hear the relentless, driving d-beat drum patterns adapted into the industrial-metal sequencing on "Hellfudge." It is the exact same d-beat velocity, just backed by a drum machine instead of a sweaty punk kid.
  • Killing JokePaul Barker's heavily distorted, metallic bass sound on the early Lard recordings was directly modeled after Youth's work with this post-punk band. You hear this influence in the grinding, circular bassline of "The Power of Lard." It is that same tribal, apocalyptic post-punk bass tone turned up to ten.
  • The StoogesLard paid direct tribute by covering "I Wanna Be Your Dog" during their rare live performances. The influence is evident in the raw, treble-heavy guitar feedback that Jourgensen splashed across every track of their debut EP. It is Detroit proto-punk filtered through a broken sampler.
  • D.O.A.Biafra's collaborative history with these Canadian hardcore veterans on the album Last Scream of the Missing Neighbors laid the groundwork for how he would front a heavy band. The fast, metallic punk riffing on "They're Coming to Take Me Away, Ha-Haaa!" borrows the exact same aggressive, chunking guitar style that D.O.A. mastered.
  • ChromeBoth Jourgensen and Biafra have praised this San Francisco psych-industrial outfit as a massive early inspiration for their noise experiments. You hear this in the chaotic, disorienting synthesizer washes and alien tape manipulations that drift in and out of "Time to Melt." It is pure, paranoid space-punk noise.

Discography

Their records — most-collected first.

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