Inferno

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It’s a shame that the band never reached their level of intensity again but they never stopped finding ways to live up to their unshakeable reputation.

The first of many of the band’s albums to be produced by Cameron Webb, Inferno became Motörhead 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. insure that this album will crush your skull into pulp with every listen and you will come back for more every time. Lemmy, Phil and Mikkey offered a few extremely catchy yet absolutely heavy tracks on their album from 2004. 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. Which is okay, they're one of the few bands that can actually get away with releasing the same album over and over again and yet still have something new to offer with each album.

While they didn’t stray too far from the template that was laid down by Lemmy’s bass distortion and gargled wheeze, their sound did evolve over time as they discovered variations to their tried and true formula. In an interview for the bonus Inferno DVD, drummer Mikkey Dee states that Webb "pushed us a little more.

That's right, In the Name of Tragedy is a punk/thrash number with a bit of Laaz power, but with Lemmy and Motorhead doing their thing as only Lemmy and Motorhead can. I know, it’s no new finding that Lemmy was always an expert in reducing music to its essentials and this song shows once again that conventional song patterns are no indication for a stale overall picture. The vocals are well done, and there's plenty of subtle harmony to thicken the vocals and bring them out without making them too loud. Ten songs like this would make a competent Motorhead album, but the thing with Motorhead is that despite the fact that all their songs are instantly recognisable as Motorhead, they don't pull an AC/DC and sound all the same - this one sounds more like something off Sacrifice or Burner, and that is the contribution to the album.if they can crank out the filler material, and even the filler material is pretty fucken good, more power to 'em. Contrary to popular belief, Motorhead didn’t always release the same album every time they recorded something.

About Joe Petagno – interview section with Joe Petagno, bonus DVD with Inferno 30th Anniversary edition SPV69748. This was mostly attributed to Lemmy's hearing loss as he liked his songs to have a "brighter" sound and would always tell Webb to turn down the bass.The songs themselves also seem to be more up tempo than usual as the pummeling “Terminal Show” and “Fight! Lemmy, we do not know exactly what you have done during the last six years, but we are happy that you and your comrades gave us such a rich legacy.

Already the voluminous up-tempo opener “Terminal Show” leaves no doubt that the album gives no reason for concern in terms of the mix.Not only was Webb able to find unity in the band in terms of recording but also understand Lemmy's bass sound, which had a lot more gain than low end.