Reviews

In the three years since their last album, the generally panned Another Perfect Day, Motorhead had made many changes. Apart from frontman and band leader Lemmy Kilmister, this was an entirely new group - and with a twin guitar attack instead of the usual three piece. This new version of the band had been introduced to the world previous on the four new tracks from the No Remorse compilation two years earlier, but those tracks only hinted at the potential, and were generally pretty 'safe'. Orgastmatron was the band's first chance to really show the fans what this new version of the band could do. 'Deaf Forever' opens the album at a slow pace, but with a grinding intensity that the earlier band had never had. It feels free of excesses, and gets to the point with little fuss. Even the lyrics are focused, and Lemmy sings with a 'take no prisoners' attitude. It's an ode to war, at the same time as a harsh criticism of it, and the song feels like it was carefully chosen to introduce us to a streamlined 1986 edition of the band. 'Nothing Up My Sleeve' sound more like the familiar Motorhead, speeding along like an out of control race car. The production, although often criticised by the band, is perfect for the music, sounding aggressive and in your face. It is a little bit muddy, but it adds a certain 'live' feel to the songs. 'Claw', an immediately fan favourite, is packed with fast guitar riffs and double entendres galore, and is the final nail in the coffin of the old brigade fixated on the band's 'classic' line-up of the earlier albums. 'Mean Machine' is straight up punk rock, and is one of the most intense songs performed up to this point by the band. There is little room to breathe, and closes the first half of the album nicely. Side B deliberately slows the pace with 'Built For Speed', and much like a boxer in the ring, the band now knows they have the listener subdued. The original plan for the album was to name it Riding With the Driver (hence the cover art), and although the title is a little flat, the same can't be said about the song. There are more moments driven by speed (both descriptively and likely by the actual substance) on this album than any previous, and although the album clocks in at under 45 minutes, it is both an energizing and exhausting listen. Drawing the album to a close is the grinding masterpiece that is the title track. It is unique, not just in the band's discography, but in general. The swirling production gives the repetitive plodding riff an otherworldly feel that is almost unsettling. Lemmy sings of the great hypocrisies of religion, politics, and war, all veiled in cosmic references to gods and times both past and future. As a lyricist he could run the gamut of shallow sexism right through to intensely bold and intelligent lyrics, and this song is far right on that scale, possibly being the greatest words that ever left his mouth. The track is bold and profound in a way that the band rarely ever explored again. Although the album is solid, the band itself was still in rough waters at this point, with drummer Pete Gill barely lasting the next album, and guitarist Wurzal also gone a few short years later - but guitarist Phil Campbell went on with the band for another three decades until Lemmy's death, making him the second longest member (behind Lemmy himself). Ultimately Orgasmatron is an album that demands attention, and creating such in a time where the band was at a 'do or die' juncture was placing a bet that ultimately paid off. The band created an album that will never quite be their best, but will never be close to their worst - A very solid middle of the road effort, that was as much about renewing faith in themselves, as it was the fans.

Incredibly these guys had been around since the 80's, but it wasn't until 2005 that I came upon them and their self-titled release. Not having anything to compare with I was blown away at the frenetic pace for the most part and original vocalist Messiah Marcolin. It ended up being the one and only release with him following their reunion in early 2000's. Despite being part of the early classic era, it seemed he just didn't gel as hoped with the band and was shown the door for some reason. I'm just glad I got to experience it - he has an amazing metal voice. There is no misconception about what you are about to hear due to the opening track 'Black Dwarf'. Fast-paced aggressive tempo with quite a unique vocal effort from Messiah. You can't not notice it. I love it. This flows beautifully through the remainder of the record. Surprisingly on track 2, to pull back the reigns and put together a slow-paced, foot-tapping ballad of some sorts. Smart play by band leader Edling who has written all the tracks on this record. Listening back now after many years not doing so, this is truly a genius effort. I could call out each song as being a standout for different reasons. I'll limit though my call-outs to such classics as 'Assassin Of Light' (brilliant guitar work on this one - love it!) which is followed by 'Copernicus' - that double kick at the start is killer, following by that doomy entrance to the song. Just brilliant!! When they changed lead singer for future releases I did listen to the next couple but just wasn't the same. Great to see they are still going. Looks like there is a 2025 release in the works. I should pick it up for a listen.