When kicked out of Hawkwind for a myriad of offenses, Lemmy formed Motörhead
as an outlet for his aggressive hard rock vision, equal parts British biker
culture, pre-punk punk rock attitude, and heavy metal thunder. Over the course
of dozens of albums, Lemmy and Motörhead’s ever-evolving line-up managed to
affect punk, heavy metal and thrash unlike any other artistic influence.
Motörhead’s Inferno
For almost thirty years, Motörhead’s musical blueprint has been
consistent and consistently powerful: Lemmy’s gruff vocals spitting out lyrics
above a massive slab of feedback-driven guitar riffs and thunderous drumbeats.
Inferno, the band’s latest, doesn’t stray far from the formula. The
blistering “Terminal Show” kicks off the disc, a futuristic tale of woe set to
a speed metal soundtrack that careens out of control approx. Thirty seconds
into the song, guest axeman Steve Vai’s razor sharp leads standing in
counterpoint to Phillip Campbell’s percussive riffs. From here, the pace never
diminishes, drummer Mikkey Dee’s merciless rhythms driving the songs forward
while Lemmy’s bass bludgeons the listener and Campbell’s six-string work
punches with the subtlety of a sledgehammer.
The only surprise on
Inferno, perhaps, is the acoustic “Whorehouse Blues,” an overt
reference to the influence of traditional blues (and British blues-rock) on
Motörhead’s metallic sturm-und-drang. Inferno is both timeless and
out-of-time, Lemmy serving up uncompromising rock ‘n’ roll field-tested by
better than a quarter-century of hard roadwork. In Campbell and Dee,
Kilminster has the band he’s always wanted, the iron fist inside the tattered
leather glove. Like most Motörhead albums, Inferno is dominated by
themes of sex, death, power and the near-mystical aesthetic of rock ‘n’ roll.
The songs roar like a wolf at the door and scream louder than Dante’s
nightmares, Motörhead an anachronistic thorn in the side of the music
business, the rude guest that refuses to leave the modern rock party.
The Reverend’s Bottom Line
You won’t hear Inferno on the radio, but its importance will be
felt five or ten years from now when the kid who discovers Motörhead through
this album forms the next Metallica or Nirvana. In the end, Lemmy won’t be
remembered so much for the remarkable simplicity and strength of his music but
for the young musicians who continue to be influenced by the uncompromising
honesty and anarchistic spirit that is Motörhead. (Sanctuary Records, released
June 22nd, 2004)
Review originally published by the Community Free Press (Springfield MO)
Buy the CD from Amazon.com:
Motörhead’s Inferno
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