Motorhead have been releasing albums for about 30 years now and
Inferno is their 21st studio album. Although even their most die-hard of fans will confess all of their Motorhead albums sound the same, they will proudly declare their exciting stage-act is something that no metal fan can afford to miss.
Motorhead first appeared in 1975 when the NWOBHM had first appeared, their rapid high-energy riffs and aggressive vocals had them recognised by both the Punk and Metal community to cause an almost over-night sensation.
Terminal Show begins with a great riff, played so furiously that almost any doubts about Motorhead's playing can be put to rest. Lemmy takes it from this point and sings with the same gruff voice, the same form of lyrics, but with Steve Vai playing lead on this one. This is a definite high-point for the album, maybe for even band. I should probably point out that the production on this album is excellent.
Then comes
Killers with a catchy chorus, some brutal drumming and a memorable riff. The solo is well-timed and sounds great against the rhythm of this track. After the final chorus a short solo finishes this song.
Another burst of life takes you into
In the Name of Tragedy. The vocals are great; besides the same raspy voicing, the rhythm at which the vocals are sung is pretty catchy and the guitar work is as special as ever. Philip Campbell does a good job in his playing and in backing vocals.
In the Name of Tragedy only feels a bit too short, but the solo is one of the best and the drumming never loses pace.
The bible-bashers can put their complaints to rest, this is an anti-suicide song.
Suicide is not as heavy or even as energetic as other numbers on
Inferno, but the pulse that it creates and the rhythm that it follows make it a unique moment on this album, probably the best in fact. The chorus, drumming and guitars are all filled in perfectly.
A very bluesy riff takes the beginning of
Life's A Bitch -and the album- in a different direction. Through it all, I can say, Motorhead haven't had to change anything in their music that you would have heard about 30 years ago, although the repetition does become tiresome. However, as far as the album goes so far, it's all working out great.
Another particularly aggressive song begins and Mr. Vai even pops his head back in for a solo. The lyrics are well-written and create an annoyed atmosphere that you would appreciate if you're particularly annoyed yourself. The song fades out with the lead guitar still screaming, supported well by the drums.
In the Black isn't one of Motorhead's heaviest tracks here, and is about the closest you'll here to a filler on this album, and we're far from being disappointed by
Inferno. The vocals work with the instruments to make a stomp-along track. At the end the drums fire on to carry
In the Black to the very end.
Fight is introduced with Lemmy requesting "put the bass up, will ya?" after which, Lemmy and Philip take the limelight in both instrumentals and vocals. Although, saying that, the drums are played with Great Spirit by Mikkey Dee, and leave you with not only a great song to remember, and with a final "you mother***er" at the end.
In the Year of the Wolf seems like a fairly dull track that can only grow on you after another listen, but for the meantime, you'll probably just want to hear it for the solo.
A pick rake, then a slow and steady song plays on. Not to say it's a bad track, but that it's another song with an acquired taste. At around the third minute, a
November Rain-style solo begins and for a few seconds the thought 'oh no, it's turning into a ballad' comes and goes almost instantly. I got a bit scared there.
Smiling Like A Killer brings
Inferno back to life with a rhythmic chorus and a great solo. The bass is almost inaudible at some parts, but the drumming is both agile and palpated through-out the whole track.
Whorehouse Blues ends
Inferno, and it's quite a strange way to end. It's a blues-style acoustic about everything the band have been through. It even features Lemmy playing harmonica and acoustic. It's odd. It may have been completely improvised, but it makes for a nice way to finish the album with a short discussion of "can we go now?", "yeah".
If you're an established fan of Motorhead, you should probably add this one to your collection if you haven't already. Otherwise, this wouldn't be a bad start, although you would probably be better off with
Overkill.
It's now been made clear that Motorhead can write, record and tour for 30 years and still complete the list almost incident free. I suppose it would be rude
not to buy this album in a sense.
Best Tracks:
Terminal Show,
Suicide,
Life's A Bitch.
