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The godfathers of rock ‘n’ roll are back and they need no introduction whatsoever. The Wörld Is Yours is the twentieth Motörhead album and it holds no surprises, for better or for worse.
Regardless of some mixed feelings of mine regarding the recycling of an old song title, Born To Lose is a perfect opening track which sounds just as a great Motörhead song should. Speaking of sound, the production follows in the footsteps of the last few albums, which strikes me both as something positive and as something negative. Some of the songs kind of seem to melt together to me, such as I Know How To Die, Get Back In Line, Devils In My Head and Waiting For The Snake. It’s not that they are bad but they strike me as half-hearted reruns of songs we’ve heard many times before.
One song that breaks the pattern, which I appreciate, is Rock ‘n’ Roll Music. It stands out with a more boogie-like feeling than the preceding songs. Some of the lyrics may be a little cheesy (“Rock ‘n’ roll music is the true religion”) but that’s forgivable as it’s a pretty enjoyable song.
Brotherhood Of Man is another song that takes a different approach. It’s a sort of slow, heavy song reminding me somewhat of Wake The Dead from We Are Motörhead. I love what Lemmy’s doing with his voice here – that threatening and somewhat scary tone – and this is actually my favourite on the entire album. The following song, Outlaw, is another great track – a classical, fast Motörhead song with a really strong chorus. It almost takes me back to the feeling of the monumental Inferno.
However, the last two tracks – I Know What You Need and Bye Bye Bitch Bye Bye – don’t really do anything for me. There are some qualities there, of course, but I had hoped for a stronger finish and all in all I’m left feeling kind of disappointed when the 39 minutes have passed.
Criticizing a Motörhead album is hard. The Wörld Is Yours is of course exactly what we expect it to be: another Motörhead album. If you love Motörhead (And why shouldn’t you?), check it out. It isn’t that I dislike the album; there are a few great songs but as a whole I’m just not that impressed. If I were to feel an urge for “modern” Motörhead, I can’t say that I would ever choose The Wörld Is Yours over Inferno or Kiss Of Death.
Originally written for www.metalcovenant.com
It is always hard to write a unique-sounding Motorhead review, especially if it's for one of their more recent albums. The band has undergone some evolution over the years, but every review seems to revolve around the idea that nothing in the band ever changes. However, this particular album is made unique by its form of distribution more than anything else. While it received standard distribution in most of the world, it got an exclusive release in the UK through Classic Rock magazine.
For the most part, this album's sound plays out like an extended version of 2008's Motorizer. Like that album, this release has a particularly gritty production job. But at the same time, it also shows the band moving away from the blues influence that was prominent on previous tracks. But like every other Motorhead album, what really makes this effort enjoyable is the band's energy. Despite the members' advancing ages, they are more intense than just about every other band out there and breathe a lot of life into what could have been otherwise typical songs.
As expected by the band's energy, a majority of the songs on here range from fast-paced borderline thrashers to upbeat rockers. The closing track, Bye Bye Bitch Bye Bye, might be the strongest track on here and hearkens back to 2004's Inferno in terms of speed. Of course, there are some mid-tempo tracks on here that attempt to show variety. Opener Born to Lose (Not to be confused with an earlier song with a similar title) is a grinder with a riff not unlike Shoot You In The Back, Rock 'N Roll Music plays out like a modern version of Born to Raise Hell, and Brotherhood of Man could be seen as the latest update of the immortal Orgasmatron.
Overall, this is another good Motorhead album that I would put on the same level as Motorizer in terms of the band's recent releases. They might never write anything as intense as Inferno ever again, but they can keep writing energetic anthems like this for all I care! But I suppose things could be interesting if the band went for a slower direction in the future. It's been hinted at before and managed to sound promising on the band's recent Ace of Spades re-recording. In the worst case scenario, the new movie about Lemmy should be worth watching.
Born to Lose, Waiting For The Snake, Rock 'N Roll Music, Brotherhood of Man, and Bye Bye Bitch Bye Bye.
Originally published at http://suite101.com
Reviewing a Motorhead album is challenging. Why? You try doing it without a) stating that it sounds like Motorhead, b) mentioning how Lemmy and the lads haven't seemed to have aged or c) or some reference to Lemmy's infamous life of excess in all departments. So, to save myself the heartache, I've decided to include all those things at the beginning, so here goes. This is a Motorhead album, I guarentee it will sound like Motorhead. Lemmy, MIkkey and Phil don't sound as if they have aged and Lemmy will drink you under the table. There. Now I can tell what album sounds like (if you haven't figured it out already).
Mikkey Dee has always been an awesome drummer, from King Diamond to Dokken to his (not so recent anymore) association with Lemmy. He is capable of providing the unbreakable spine to Motorhead without ever getting boring, adding tasteful fills everyone now and then for flavour. His unrelenting energy is breathtaking to listen to, which combined with the strength of the production gives the drums an unmatched power (just listen to 'Outlaw'). For sure, this is 4/4 rock n roll drumming but it never gets boring, especially not as boring as the drumming on Reload. And they sound better.
Guitar-wise, I have come to the conclusion that Phil Campbell will never run out of riffs. The monster riff on 'Brotherhood of Man' has been compared by everyone to capturing the essence of Orgasmatron, while 'Bye Bye Bitch Bye Bye' is one of the best riffs on the album, rightfully earning the song the title of album closer. The guitar is thick and crunchy, which is great for the heavier and faster songs, but also give the old-school style 'Rock n Roll Music' a light touch, which interwines well with the bluesy licks that are prevalent throughout the song. When it comes to soloing, Phil Campbell is the man for the job. His style ranges from pure blues-rock with wah-wah tinges, to fast, frantic picking as evidenced on 'Outlaw' which is my favourite solo on the album. Top-notch work to be found here.
You can always feel Lemmy's bass. It is not always distinct from the rest of the music, but your bones will thank you profusely when it is not rumbling away. For the most part, bass follows the guitar line, but will occasionaly break away to strike out on its own, such as the bass solo on 'Brotherhood of Man', which duels with Phil's guitar for a little bit, which was cool to hear, but more is requested from this humble listener.
Vocally, Lemmy sounds the same as he did on Motorizer, Kiss of Death, Inferno... I could go on, but by now, you should have listened to all of Motorhead's discography and realised that while other singer's voices may have detoriated (provide your own examples here), Lemmy's hasn't. He adopts a lighter touch on 'Rock n Roll Music,' paying homage to the music that defined his life, which he has said many times, whilst heavier and more energetic tracks receive Lemmy's trademark gruff shout which no one else should ever attempt to imitate. My throat testifies to this.
I have a special spot for Motorhead lyrics, from the bacon torpedo to the bed that is a mess of rattlesnakes, and this album doesn't fail to deliver more of the same. The whole album is awash with great examples, but I'd have to say that 'All things come to he who waits, but these days most things most things suck,' reveal Lemmy's acidic disdain for modern culture in the best way possible.
Overall, this is a solid album from one the world's most consistent bands. Cameron Webb has set a Motorhead record by sticking with the band for albums straight, which is major factor in the consistency department, although it does make the album sound a little less unique. I am sad that this album like the album before it doesn't feature a famed Motorballad, because they are always awesome. I suppose I could wait for one to appear on the next album, but there is a chance that it might suck.
When I checked out this album I expected another conservative retro rock record without any surprises as the trend heavily heads in this direction with the recent success of "Bullet" or "Airbourne" but this album blew me away in a very positive way.
Ten dirty rock'n'roll pearls are in this little treasure that is very well produced and sounds fresh without taking the energy and edgy style of the single songs. That is really rare to find and hear nowadays and rates this album really up.
Even though this album is quite catchy and has the typical Motörhead trademarks, there are some bits of surprising elements in many of these songs that keep the relative diversity quite elevated. From the dark groove monster "Brotherhood of man" up to the punk rock smasher "Bye bye bitch bye bye" the band tries out many different kind of little style change gimmicks.
My favourite song is the great opener "Born to lose" that takes no prisoners from the beginning on and has a really amazing and memorable main riff, a really tight and energizing drumming and some surprising licks and breaks here and there. This song perfectly represents the band with all its trademarks and still sounds fresh. Lemmy is not the egocentric star in here as the other two band members rock as much and are part of this energizing and vibrating sound that dominates the whole album. Many people often forget about that and I think that the three musicians seem to have the same passion and ideology and collaborate in harmony.
All in all, this album contains forty minutes of sweat, blood and passion. This album is pure rock'n'roll and rocks more than any ambitious retro rock band out there. While songs of "Airbourne" or "Bullet" all quite the same after only two or three albums, this band is still kicking ass after twenty studio records in over thirty five years. Maybe they are following the same formula and normally this is something I rather don't like but Motörhead is one of the rare bands that have created a somehwat perfect brand over the years that nobody would like to get changed. This is truly legendary.