Review by Norbert on January 26, 2026.

I'll freely admit that Bydgoszcz's Büddah's earlier material didn't make much of an impression on me – just solid, old-school death/thrash (with an emphasis on thrash) with a black metal overtone, technically sound, but lacking the spark that would keep me coming back. The 2022 EP, "The Curse Of Ferrius," and the live mini-album, "Resurrection Clarity," released two years later, showcased a band deeply rooted in classical music, playing with heart, yet without a clearly defined identity. But when I saw the cover of their debut full-length album, "Amyotrophy," just before the end of last year, with a release date set for January 30th via Godz Ov War Productions, a quick "ooh!" popped into my head. This image, reminiscent of the dark visions of Beksiński, Wałkuski, Szynkarczuk, and Lewandowski, promised something much deeper than just another serving of old-school brawl. And indeed, Büddah's debut LP is a surprising album at almost every turn.

A band that previously presented itself as adept reproducers of metal clichés suddenly reveals itself as a much more conscious, searching, and—I'm not afraid of the word—ambitious entity. From the very first bars of the album's opening track, "Amyotrophy I," it's clear that this isn't a more or less random collection of riffs, but a thoughtful, multi-layered narrative in which technical death metal blends with progressive narrative, thrash motorics, occasional doom reverie, and an almost mystical space. This spirituality, somewhat reminiscent of Chuck Schuldiner's later years, perfectly suits the band's name—Büddah, a tongue-in-cheek Budda—with an H at the end to enhance the logo's visual appeal and an umlaut for a metal edge—but a Budda nonetheless, who, instead of enlightenment through silence, proposes enlightenment through dissonance, tension, and constant change.

Musically, the album is dense, at times almost overloaded with ideas, but it's this very excess that builds its character – echoes of Pestilence from the "Testimony Of The Ancients" era, and the progressive eras of Death, Cynic, and Atheist, can be heard here, but never as mindless homage. Büddah manages to weave these influences into something of their own, and the oriental interlude "Law Of The Snake" and the acoustic, breathy passages only deepen the impression of an album that demands time and concentration. The vocals are also engaging – the expression changes with the music, sometimes attacking with a raw death metal roar, other times retreating, allowing the instruments to speak more.

And it's precisely here, in this instrumental freedom, that the only flaw in the almost perfect picture appears. I like albums where the bass is prominent (I like it even more when it's a fretless bass), but on "Amyotrophy," I sometimes feel like the band tries to emphasize it a little too often. The bass solo in the very first track and the recurring, long, spacious passages reminiscent of Opeth—though atmospheric and technically impressive—sometimes go on a hair's breadth too long and feel a bit overdone, as if the musicians were constantly trying to reassure the listener of the breadth of their inspirations. It's a minor detail, a fly in the ointment—perhaps not an objective error at all, but merely my personal oversensitivity—but if Büddah reins in these ambitions a bit on their next release, the effect could be downright stunning. "Amyotrophy" is a very mature, bold, and unconventional album, demonstrating a huge leap in quality compared to their previous releases. It's an album that reveals new layers with each listen—like a meditation in the noise, a spiritual quest driven by distorted guitars and broken rhythms. And since I'm completely non-religious, I'm even more amused by the thought that if they perfect this balance on their next album, who knows—maybe in the autumn of my life I'll decide to convert to Buddhism. In the version with ü, of course.

Rating: 8.5 out of 10

Review by Felix on December 28, 2021.

Six years. Is it really true, already six years? Indeed, the man who seemed to be blessed with the power to live a rockstar life eternally, died exactly six years ago. But a lot of his songs have no expiration date. Fortunately, some of them can be found on Inferno.

Lemmy, Phil and Mikkey offered a few extremely catchy yet absolutely heavy tracks on their album from 2004. The first one I must mention is 'In The Black'. It consists of an ingenious riff, uncouth yet smooth verses and a chorus that jumps into your brain like a parasite that will never leave you again. Lemmy sings like he has always sung and – only the best is good enough – he delivers the second voice as well. Needless to say that the number does not only provide solid heaviness, but also the casual touch that has given a lot of Motörhead’s tracks its special flavour. 'In The Name Of Tragedy' is a bit darker, but it also profits from a fantastic flow, a memorable chorus and its simple construction that invites you to bang your head. 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. This is all the more true as the production conveys determination, conviction and muscles. Inferno bursts out of the boxes with lots of self-confidence and so the right frame is set for the songs. Already the voluminous up-tempo opener 'Terminal Show' leaves no doubt that the album gives no reason for concern in terms of the mix.

But Lemmy has more aces (of spades) up his sleeve. His lyrics have always reflected his special view on the world. He delivers his potpourri of angry, cynical, ironic and laconic (“Life is not a TV dinner”) poetry which makes the musically strong songs even more enjoyable. A few times he also reflects on his own past (“Our badge the ace of spades”, “Eat the rich, life’s a bitch”, “Stay clean, be true”). And so he and the other two ruffians create a cool album that avoids almost completely lukewarm stuff. This does not mean that each and every song provides an overdose of excitement. But I guess that no Motörhead tune ever did this after Ace Of Spades – and this is no problem at all, because this band offered other values: permanent reliability, dirty humor, powerful chords. That’s what made them a constant, well-appreciated factor in the metal community.

With this said, the flawlessly produced Inferno is not as apocalyptic as its title indicates, but most of its songs have a nearly perfect flow, a great drive and a compact arrangement. Sometimes the band borders on speed metal ('Fight' is a distant relative of the rapid 'Eat The Gun' from Overnight Sensation), but they also take a trip to bluesy territories (the closer). Of course, a blues song is neither great nor necessary, but if there is a band that has the right to perform such a number, than it’s Motörhead. Every now and then, a song walks the thin line between “okay” and “meaningless”, for example 'In The Year Of The Wolf', but after all, there is no reason to skip a song. Even the somewhat lethargic 'Keys To The Kingdom' spreads a certain charm, although its neighbor 'Smiling Like A Killer' sounds much better: simple, direct, old school, simply Motörhead. 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.

Rating: 8 out of 10

Review by Joshua on January 22, 2005.

There are so many bands who fade away slowly, gradually weakening and burning out.

Then there's Motorhead.

Motorhead starts and ends with the same style that's defined them for the last three decades: A timeless blend of edgy rock and roll, traditional metal, and Jack Daniels. They've grown harder and heavier over time, but the basic song structures don't really change. Of course, bands who don't change at all are marked for death, and it seemed Motorhead followed this course on their last few CDs. They'd done nothing really memorable since Sacrifice in 1995,leading listeners to wonder how much of their talent left with Wurzel. However, here's what distinguishes Motorhead from the world's Metallicas and Megadeths: with Inferno, Motorhead incorporate exactly enough style changes to make their trademark style sound fresh and interesting. This is not the re-recorded Ace of Spades. This is a reinvented Motorhead.

Their songwriting has matured. Their music shows a diversity of influences, but retains the trademark Motorhead playing style. Their material is catchier and less anonymous. And Lemmy has managed to scribe some of the most intelligent lyrics since Orgasmatron in 1986, ranging from the serious and thoughtful (‘In the Name of Tragedy’) to the completely hilarious ("Whorehouse Blues"). ‘In the Name of Tragedy,’ has a more deliberate and menacing tempo than anything they've recorded since Orgasmatron. ‘Life's a Bitch’ plays at a rock and roll tempo last seen on ‘Don't Waste your Time,’ from the album Sacrifice. Actually, the tempo sounds remarkably like Little Richard...one of the few rock-and-rollers who looks creepier than Lemmy. Now, compare this to the frontal assault of tracks like ‘Fight’ and ‘Terminal Show,’ energetic thrash and pounding drums, and note that neither one has a weak moment on their new CD.

Well, therein lies the only criticism I can make: Some songs sound a lot like older songs. Of course, one expects that much from Motorhead. One wouldn't expect, though, that they don't sound like Motorhead classics. Rather, they sound like corrections to songs that were just slightly off, mostly from the early 90s. Compare ‘In the Year of the Wolf’ to ‘All Gone to Hell’ from Sacrifice. ‘Fight’ sounds a lot like ‘Burner’ from 1994's Bastards. Compare ‘Life's a Bitch’ to ‘Don't Waste your Time’ on Sacrifice. While they're not "No Voices in the Sky", it's obvious that some of these song ideas germinated years before -- even if they took decades to come to fruitition.

It's been awhile since Motorhead released an album where every song was interesting, memorable, and distinguishable from, well, every other Motorhead song. Infernodoes exactly this. There are no substantive weaknesses. There are no critical flaws. There's some rehashing of earlier material, but if that's not the hallmark of Motorhead, well then, what is? If you've never heard Motorhead before, and you want a stunningly bright, representative sample, then you should pick up Inferno. If you have, it suffices to say that this is Motorhead's best CD since Wurzel left, and you should hunt it down immediately.


Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 8
Production: 8
Originality: 7
Overall: 9

Rating: 8.2 out of 10