Ian Fraser “Lemmy” Kilmister of Motörhead (and formerly Hawkwind) passed away today. According to Motörhead’s Facebook page, Lemmy died after “…a short battle with an extremely aggressive cancer”; one that he had only found out about two days before his death. More information may be released in coming days. This death follows the recent death of Phil Taylor and puts a unfortunate note onto the band’s 40th anniversary. It is worth noting that Motörhead remained strong up to the very end, touring despite instances of bandmember illness and even releasing a quality studio album a few months ago.
Phil Taylor, the former drummer for Motörhead, has passed away at the age of 61. So far, no cause of death has been disclosed. As one of the founding members of the band, he understandably had a major influence on metal drumming; in particular, he probably played a major role in popularizing the use of double bass drumming in some of the more extreme subgenres. On the other hand, the variety in Motörhead’s early material also speaks volumes on his ability to perform in some substyles beyond just proto-speed metal. Beyond his especially famous performance on Ace of Spades, Taylor also performed on every one of Motörhead’s studio albums until 1916, with the exception of Orgasmatron.
Motörhead (n.): Consistency, especially over a long period of time
The way I see it, time has not been much of anything at all to Motörhead, positive or negative. Every few years sees another album, with gradually improving production standards and gradually evolving vocals from Lemmy Kilmister. It’s been a very long time since the band experimented with its formula. Essentially, Motörhead’s formula is so basic (blues rock amped up until it becomes metal and sped up or slowed down as necessary) that they’ve been able to keep pumping out consistent work to this point, and Bad Magic keeps this going despite Lemmy’s recent health scares.
The art of Motörhead is very much like that of oat porridge, perhaps with a bit of cinnamon or fruit for flavor. You can’t go into this expecting anything but very basic, especially blues inflected heavy/speed metal. This extends to the songwriting, which I can accept considering that there’s no pretensions of being sophisticated or experimental or Myrkur or whatever the target of the day is. Perhaps the instrumentation is a bit more complicated than on something like Overkill or Ace of Spades, but Bad Magic is separated from such formative works by decades of technological advance and metal marketing. This recording still has much in common with its predecessors, and you could reasonably make the argument that since Motörhead keeps making mostly the same albums, they aren’t adding much by churning these out.
On the other hand, consistency is a virtue of its own, and in many ways, Bad Magic is a safe, sane, and predictable purchase. A slightly more refined and more technical Motörhead album, preparation for whatever concerts they might be able to play in their area, and most likely more enjoyment and value than some of the gimmicky recordings in this genre. It might be better for neophytes to start with earlier work, but as a relatively basic “more of the same” type album, Bad Magic is certainly a success. There really isn’t much to say beyond that, and I trust readers can make an informed decision about whether new Motörhead is something they want in their lives.
Slayer blasted their way into the underground metal scene in 1983. Metal had just shifted; the genre of Black Sabbath got taken over by the Led Zeppelin fans, resulting in glam and arena rock, and was just being taken back by a DIY movement via speed metal. Inspired by that speed metal movement, Slayer took their music in a slightly different direction.
“Heavy metal and British punk, that’s what we are.” The four young men from Southern California shaped their music by instinct, applying the techniques of punk to the most intense moments of heavy metal. Iron Maiden, Judas Priest, Motorhead, Angel Witch, GBH and Discharge. It all went into the blender and the result emerged more vicious than ever before.
Woodstock – Los Angeles, CA – March 28, 1983
The Keystone – Berkeley, CA – January 27, 1984
The Country Club – Reseda, CA – September 1, 1984
Heavy Sound Festival – Poperinge, Belgium – May 26, 1985
Dynamo Club – Eindhoven, Netherlands – May 28, 1985
The Ritz – New York City – June 12, 1986
Felt Forum – New York City – August 31, 1988
Clash of the Titans – Genk, Belgium September 22, 1990
Show No Mercy reflected more of a heavy metal bias, still hanging on to the grandeur of the 1970s. By Hell Awaits, Slayer forged their own style, inspired in part by the minimalism of the Haunting the Chapel EP. Even more, the band discovered a mythology in Satanic rebellion against a world where the term “good” meant obedient, oblivious and zombie-like in pursuit of individual pleasure at the expense of realism. They hated this world, and branded it with an inverted cross in rage at its existence. This outlook was healthier than the pleading resentment of the protest rock bands and less dead-end apathetic than what punk became. Metal had a new voice.
With the next album, Reign in Blood, Slayer pulled out all stops and most melody to create the ultimate hardcore album. The metal elements infused riff structure and song structure but its energy was pure hardcore punk, the raging album that The Exploited and Black Flag always had wanted to birth. In the 1980s, endorsing Satan and singing about the dark underbelly lurking beneath our happy commercial Utopia was in itself a life sentence of exclusion. Slayer wore it with pride and as people caught on to the new music, the most extreme band in underground metal headed toward the dead center of the genre.
In response, Slayer did what few bands have the guts to do: they backtracked from their nihilistic extreme and made a melodic album, but kept the melody constrained to a sense of dark atmosphere that would not be revisited until black metal exploded four years later. South of Heaven immersed the listener in pure mood and then manipulated it to create an unnerving experience of getting in touch with emotion by leaving behind all that is human. This was the peak of Slayer and represented the end of their emotional involvement with their own music, thus afterwards they pursued ideas that others had made popular and successful, hoping to make their own form of the alien.
In tribute to the original and perhaps most shocking internet meme, Wömit Angel plan to release their second album Holy Goatse on October 3, 2014 via Inverse Records.
The Finnish band, who some compare to Impaled Nazarene and Motörhead, will unleash their mixture of hardcore punk, metal and rock ‘n’ roll with low-tech presentation and high intensity rhythms. Consisting of Vile Anarchy – Drums, J. Violatör – Guitar & Backing Vocals, and W. Horepreacher – Bass & Vocals, Wömit Angel describe their music as “fetus aborting sado-metal” and direct it toward a less serious audience.
Much like other bands in this style, including Driller Killer and Impaled Nazarene, these Finns find spectacle and shock to be as important as the music they write and so have dedicated a career to essentially trolling the metal and rock audiences that they can lure into their insanity.
Motörhead is like a kaleidoscope. Anytime you look in, you get a different vision, but it’s still clearly made of Motörhead, even if turned around a bit. The band is both distinctive and consistent in its unique style.
Aftershock is like any other Motörhead except that the kaleidoscope is particularly vibrant and more rounded and orderly than most visions. Clearly someone at the band or label had in mind a partner to 1991’s 1916, which for many marks the band at its most listenable.
Why is 1916 so lauded? Each song used its own techniques, rhythms and structures that were not shared wholesale with other songs. Songs were finished, showing a craftsman’s touch to a normally hasty art. Variety of pace and emotion broke up the record. The killer loud production didn’t hurt either.
Following along those lines, Aftershock is a bluesy hard-rock version of Motörhead with aggressive, catchy songs that at times resemble Motley Crue playing Motörhead. However, the album excels in quality control. All riffs are necessary, and while repeated a great deal, there is no unnecessary repetition and best of all, no unordered songs that sort of rambled off into the horizon.
It doesn’t have the pop appeal of 1916 which was a passionate and somewhat melancholy album that attracted people to its intensity, but even more, how easily grasped the songs were. They are not quite as distinctive on this album and fade more into the backdrop of what Motörhead has been doing for the past two decades. However, they’re also good summaries of the Motörhead sound from a slightly newer perspective.
One other thing of great interest is how guitar-based this album is. In rock-based music, the guitar is where most of the musical depth goes, since it’s hard to do it with vocals or drums. Here, the guitar leads the songs more than the bass or drums, which creates a surging feel and a constant background of energy. The solos and fills from the guitar flesh out the pattern and give depth to what otherwise might be too hard-charging to be anything but linear.
The point of Aftershock is to be a Motörhead album and to make a slightly updated and more powerful vision of what’s in the kaleidoscope. It succeeds brilliantly and while it isn’t as immediately distinctive as 1916, it adds a greater field of detail and appeals to the same audience, albeit more with pop form than pop sensibilities. Underneath all of that of course is the same raging engine that brought us this band in its glory days, amped up and ready to strike, with no thoughts of mercy at all.
- Coup de Grace
- Lost Woman Blues
- End Of Time
- Do You Believe
- Death Machine
- Dust And Glass
- Going To Mexico
- Silence When You Speak To Me
- Crying Shame
- Queen Of The Damned
- Keep Your Powder Dry
In an effort to remember the founders of metal who helped shape this style into what it is today, a group of bands in India have released Motorhead Tribute India, an album of 13 covers of classic Motorhead songs.
Motorhead Tribute India was compiled by Srikanth Panaman, who recorded the bands from Bangalore in his studio, and released the album on Iron Fist Records who are selling it online. Covering a dozen classic songs, and an imaginative re-envisioning of “Ace of Spades,” the CD clocks in at almost an hour of NWOBHM/punk crossover or proto-speed metal, depending on how you want to look at it.
In an interview with The Hindu, Panaman summarized the experience as “The original idea was to do a tribute gig, and then we thought if we’re spending that kind of time and money working on it and rehearsing, we might as well release an album to back it up.”
Active from 1976 onward, Motorhead helped revitalize the metal sound by stripping it down to raw and fast technique, using melody as the basis for song form, and introducing the gruff voice that later influenced punk bands who later influenced grindcore and death metal vocalists to go even further with this style of vocals. With an assortment of death metal bands on the bill, this CD should be a fitting tribute to the influence of influences, Motorhead.