Review by Felix on March 31, 2023.

Once there was a time when old men were just sitting around uselessly, ranting, drinking alcohol or arguing with their old lady. But today they record thrash metal albums! Or, less good but still acceptable, they write reviews for thrash metal albums. Here, dear gray-haired or bold-headed community, comes another one for Seven Words.

Perhaps it is an exaggeration to claim that Xentrix are getting better and better the older they grow. But false modesty would also be out of place. So let’s say the four-piece is a reliable supplier of thrash with class. Their sixth full-length (the fifth one with a relevance, because the stylistically disoriented Scourge can and must be ignored) does not lack the necessary ingredients. Energetic vibes, powerful riffing, tempo shifts between mid- and fast-paced sections, a male and vigorous voice, what more do you want? An audible bass? Always these special wishes – but okay, just listen to the stomping mid-tempo roller called 'Everybody Loves You When You’re Dead' (Adolf H. and some other criminals disagree). By the way, this song does not only feature an effective bass performance. It belongs to the top pieces, because the chorus is raw yet catchy and the riffing almost irresistible. 'Reckless With A Smile' also does not concentrate on high velocity, but its very vital, partly earworm-like guitar approach reveals the remarkable song-writing skills of the band.

Especially the rather mid-paced focussed songs show that Xentrix have a weakness for the guitar work of Testament or the better pieces of Metallica. It does not matter. Xentrix have almost always been this way and there is nothing wrong with it. Their authenticity is undeniable at the latest after this second album since the comeback. There are no mayflies on the road here. And compared with the aforementioned big dogs, they are able to add more than only 10% extra power to the sharply attacking guitars. Not only the aggressive title track lets sparks fly. The same goes for the vigorous opener and 'Ghost Tape Number 10' is not willing to make compromises as well. Almost even better, it has nothing in common with the band’s dubious 'Ghost Buster' cover from 1990. But cover songs are definitely not the core competence of the band – the bonus track of Seven Words is the precise opposite of any kind of bonus and not worth mentioning. Or has the prime minister of infantile shock effects, also known as Alice Cooper, ever had even one good song?

Fortunately, each and every of the ten regular songs adds value to Seven Words, an album which is committed to old school thrash with every fibre of its body. The modern production does not counteract the musical concept. Instead, it underlines that the original, authentic and only real thrash metal is still a relevant factor – 40 years after its birth... and I write this review 54 years after my birth. Soon I will join the ranks of the old men I have mentioned at the beginning of this review. I will be in a constantly bad mood, I promise, but from time to time I will still listen to a good thrash album. Seven Words will be a candidate.

Rating: 7.7 out of 10

Review by Greg on December 28, 2023.

Usually, I hate to behave as an alternative person. So many are the people who amuse themselves going against common thinking, seeing it as cool or trendy. Music doesn't exactly differ from this, since it's not hard to find someone denigrating your Reign in Bloods, Ride the Lightnings etc. hoping to rile the passing metalheads, also on this site. I imagine them in the act of saying: 'Hey, it would be fantastic to make fun of *insert name of half world's favourite band here*, surely nobody has ever done it!' or similar. It has degenerated, really. Anyway, what does this reflection have to do with the review?

By now, I guess everyone has noticed the title, and most of all, in the eyes of many people, the certain dose of blasphemy it contains. Sure, I've listened to the Ace of Spades title-track countless times, it has never tired me, and possibly it never will. I recognize that the album is a milestone of Motörhead career and of music history, it's universally known. Same goes with Overkill and its historic, proto-metal opener. Still, when somebody asks me about the Bastards' 'definitive' album, I've never had any doubts: I've always answered with 4 numbers. Yes, my friends, this time it's my turn to differ. 1916 is my favourite album composed by the late Lemmy Kilmister's (road) crew, and probably the most complete of them. This because it's one of their few albums which contains no weak songs, a small flaw otherwise verifiable on most of their many 'classic' albums.

Although Motörhead, at a surface level, have never been renowned for originality, be sure that you won't find 11 copycat tracks here. Rather, it seems that the band wanted to write an album which could sum up the best things of their first 15 years, and even recall some solutions experimented on the overlooked (but, needless to say, great) Another Perfect Day. There is speed, there is melody, there is emotion: there is Hard Rock, with capital letters, and plenty of it. The tracklist shows indeed all the different faces of 1916. We have powerful tracks like 'The One to Sing the Blues' and 'Make My Day' (one of my favourite songs ever), classic, carefree R'n'R cuts like 'Going to Brazil' and 'Angel City', the emotional apexes found in 'Love Me Forever' and the title-track, the anthemic 'No Voices in the Sky', the experimental, doomy 'Nightmare/The Dreamtime' or the punk-infused 'Ramones'... you know it's gonna be a great album when even the so-called fillers are pretty good! 'Shut You Down', while not a first choice of many, is straight-to-the-point and shredding; 'I'm So Bad (Baby I Don't Care)' is the only song which I didn't fall for, yet the guitar work is still stunning.

Musically speaking, I feel Lemmy couldn't surround himself with better mates than he did here. Philthy Animal left his final mark, returning as a band member for the last time, but still showcasing sparks of brilliance like on the opener track. Guitarists Würzel and Phil Campbell are instead at their 3rd effort, but their potential wasn't wholly exploited on the previous efforts, so it sounds like a step forward. Some of their leads are able to reach a legendary status, be it the seemingly endless outro of 'Make My Day' or the memorable climax of 'Love Me Forever' first solo, which still gives me goosebumps every time.

There's really no need to add something else: if, for some strange reason, you still haven't checked whether Motörhead are your ideal band or not, or (even worse) you don't know them and you need some music to begin, look no further than 1916. If you love Lemmy's crew you will surely have heard it, several times. But fuck it, play it again! It's too good to be left inactive.

On a final note, it really hurts to see that Phil Campbell is the only alive member to have played in this masterpiece. May Lemmy, Würzel and Philthy rest in peace, mankind won't forget you.

Rating: 9.6 out of 10