Motörhead
Inferno

THE REVIEW

We open the dictionary and look up: Motorhead... Motorhead... ah, here it is: “Motorhead, synonymous with consistency; complete dedication to sonic devastation”. I can't think of any other terms to describe the legendary band of Lemmy, and the group’s latest effort only confirms what I've said above. The years go by, but Lemmy and his faithful wart remain ever the same, perhaps aided by some hair dye, an unchanging look, and an undiminished desire to have fun and entertain, despite the passage of time. Although the pack leader is now approaching sixty, the violence with which Motorhead presents itself is surprising: no letup, no songs outside their style: "Inferno" stands out as one of the band's best albums in many years, and the title is entirely appropriate. But you might be wondering: are there changes, turning points (oh, poor deluded ones...)? It's pointless to expect changes, it's not in the style and logic of Motorhead to rely on songs of a different mold from their brand, if anything, I've noticed an exceptionally good production, thanks to which the violent and immediate sound stands out perfectly.

But let's get to the songs: the CD is an explosive bomb, and you have to be very careful if you don't want it to go off at any moment. Already the first three tracks of the new album are punches one after the other: "Terminal Show" will knock you down with its lightning-fast and raw, yet fresh and dynamic riff; noteworthy is the presence of Steve Vai as a guest star, delivering a solo perfectly in line with the song's sound. The following "Killers" does not slow down the impact power of the combo's sound, delivering into the listener's ears a handful of direct and effective riffs (starting from the truly electrifying opening riff), thus transforming into an exhilarating ride. "In the Name of Tragedy" bursts in powerful and almost dark, supported, however, by sustained and lively drumming. The threatening riffs that follow one another, moreover, paint well the image described by the song title... an image that is further "focused" by a "disorienting" but certainly effective solo. Inferno, therefore, presents itself really well. But continuing to listen, you realize that the acclaimed Lemmy & Co do not intend to relent: "Life’s a Bitch" is a pure rock’n’roll style track that will not fail to win you over, "Down on Me" and "In the Black" sound determined and powerful with "old style" riffs, then developing into the classic choruses that couldn't be more "Motorhead-ish", "Suicide" finds its strength in a more structured yet no less heavy riffing, supported by a compact and precise bass/drum section. The album closes with the unexpected acoustic blues of "Whorehouse Blues", where Lemmy takes on not only the guitar accompaniment but also plays a very evocative and pleasant harmonica solo. Lastly, note the expressiveness of the vocals which, pardon the expression but when it fits, it fits, smells (pleasantly) of "alcohol and smoky cellars".

Consistency in music, in conclusion, sometimes pays off very well. Motorhead is a striking demonstration of this. Sure, this stubborn persistence of the three musicians in still delivering the same sound today can be shared or not, but this thirty-year consistency has produced "Inferno". Personally, I appreciate the straightforwardness with which the band presents itself to its audience, a straightforwardness that sounds like this: “don’t like our music? Fuck you! Like our music? We are Motorhead, and we're gonna kick your ass.”