Inferno

Product Information

Lemmy, Phil and Mikkey offered a few extremely catchy yet absolutely heavy tracks on their album from 2004. The first of many of the band’s albums to be produced by Cameron Webb, Inferno became Motorhead’s heaviest album in years, although the final song on the album, Whorehouse Blues was something of a departure with its country blues style and Lemmy on harmonica.

Needless to say that the number does not only provide solid heaviness, but also the casual touch that has given a lot of Motörhead’s tracks its special flavour. one would be tempted to think of Motorhead falling behind the bandwagon - releasing something that sounds 1986, when they've been releasing stuff that sounds 1986 since oh about 1979. If Inferno isn’t the best album that Motorhead ever put out, then it’s a surprisingly powerful addition to their extensive discography at the very least.

this is Motorhead, and Motorhead are fucking eternal, and they can play whatever the fuck that they want, and they'll always be fucken Motorhead.

Of course, a blues song is neither great nor necessary, but if there is a band that has the right to perform such a number, than it’s Motörhead. Lemmy is approximately 82 years old at this point, and here his testicles have grown large enough to be qualified for statehood as set forth in the United States Constitution. You won’t find any fancy frills on here but moments like the building intro on “Killers” and the lyrical imagery on “In the Year of the Wolf” give things a more noticeable weight than usual. This CD shows proof positive that he is not growing mellow with age--in fact, he is still spitting venom with fire blazing in his eyes and beating holy hell out of his bass. These guys are tight, they're veterans, and if you don't know what to expect by now, what kind of metalhead are you?A country blues-style song, it was distinguished by acoustic guitar by all three members, with Lemmy adding harmonica towards the end. and yet again another song instantly identifiable as Motorhead, and throw in another simple-but-oh-so-effective thrash riff. The album ends with “Whorehouse Blues”, a touching song about life and sex that would sound more fitting on a Johnny Cash CD. Then, throw in Keys to the Kingdom, which is a midpaced blues-metal number that somehow reminds me of Saxon. The riff of Terminal Show kicks in immediately, and the album just does not fucking let up with the thrash/speed madness through the extended solo, and then the song Killers, and then.