Motorhead continue to be one of the most fascinating bands in rock. Like The Ramones and AC/DC, Motorhead have made the same album for the last thirty odd years, and yet continue to pulverize the nuts of almost any other band out there. Part of it is the iconic status they’ve achieved. Lemmy’s grizzled face, sneering up at the tilted down microphone, is forever etched into the annals of rock history. Same for the Motorhead skull, and the weird Goth-by-way-of-military style of the band’s logo. The rest of their staying power is that they come out, kick ass, and leave.
It’s been three long years since The World Is Yours. Odd for a band that averages an album every other year. During that time, life has been a hard road. Lemmy suffered some serious health issues, which culminated in his ending a set early at the Wacken Open Air fest in August. Many thought Lemmy would be slowing down or, even more unthinkable, stopping altogether. If that’s true, the band’s 21st album, Aftershock, shows no signs of Motorhead calling it a day.
Aftershock doesn’t quite hit the pantheon of genius that is Motorhead’s earlier work. It’s more the top of their later heap, the albums from 1982’s Another Perfect Day forward. Orgasmatron, Hammersmith, Inferno, Motorize, Aftershock has a place within that group. This album is filled with those gut-punch, High Rocktane jams that make Motorhead who they are. Punk fueled metal songs with a generous helping of rock n roll swagger. Even at 67, nobody could steal your girlfriend faster than Lemmy. He’s the ultimate badass.
“Heartbreaker” opens it all up with a pulse pounding, pissed off groove. Motorhead don’t ease into Aftershock, they kick down the door with “Heartbreaker”. Lemmy’s gravel-drenched-in-whiskey voice is powerful as ever, backed by a band that has mastered a consistent high level of awesomeness. “Coup De Grace” follows the gut-check with a right cross to the jaw. Another high energy Motorhead-style tune. If the Grim Reaper is knocking on Lemmy’s door, he’s greeting him with a middle finger and a smoke.
While rattle, crunch and rock are Motorhead’s bread and butter, they’ve always been good for some atypical slow jams. These songs step in refresh us, call them the beer chaser of Motorhead records. “Lost Woman Blues” is the first chaser. A 12-bar-blues based slow jam, Lemmy’s voice becomes less hot-gravel, and more world-weary traveler reminiscing over the ladies that leave.
“End Of Time”, “Going To Mexico”, “Paralyzed”, and “Queen Of The Damned” continue with body-flattening energy, while “Death Machine”, “Keep Your Powder” and “Silence When You Speak To Me”, reduce the speed, but raise the rock swagger up a few notches. I particularly like how “Death Machine” showcases Lemmy’s unique bass sound in the intro.
“Dust And Glass” is another slow chaser, and an oddity among the other songs. While “Lost Woman Blues” shared the slower tempo, it was still a swaggering slice of Motorhead. With “Dust And Glass”, the song is almost sweet natured, and Lemmy’s voice sounds more vulnerable than usual. Even when “Dust And Glass” opens up, it wears its heart on its sleeve. It’s impressive that it works, especially when the song stands as such a strong contrast to the rest of Aftershock.
Rock N Roll is like alcohol. There are so many flavors, lots of flowery brands, complex structures, and layered tastes. If you filter that out, if you bleed alcohol of everything put it’s moonshine ability to wreck shit, that’s Motorhead. Aftershock is another shot glass full of music that’ll put hair on your chest.
