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

Review by Chris Pratl on September 12, 2018.

Cianide is a hometown legend around my parts. I’ve seen these guys over the years more times than I can remember and have followed various other projects of members past and present. It’s hard to believe it’s been 20-years already since my dear departed friend John McNicholas gave me a Funeral demo and we played it incessantly in cars, bedrooms, basements, parking lots, you name it. I’ll bet the people at the local Jewel hated us for pulling up with this blasting on a daily basis, but I’m sure they’ve forgotten all about us. In any case, in regards to the death/doom genre, Cianide dispels the myth that it can’t be done and carry an entire record without boring or stultifying you.

The early 90’s sound is ever present here, which might otherwise appear dated and unable to advance, but since this sound never really had a chance to be raped or commercialized it can garner a brief pass. The low crunching of a drop-tuned ride through chaotic structure without too much attention to perfection is what makes Gods of Death something worth hearing. The murky feel to the music is always the charm of Cianide and this release is no exception. It follows the slightly slower, grainy efforts of Hell’s Rebirth by relying on attentive tempestuousness as opposed to mindless shredding. “Dead and Rotting” is simply an ugly track filled with musical visuals of disgustingly rancid decay from any and all facets; when music can provide such imaginative elements to accompany the tone you have something there. It doesn’t always work, but it can set a design quite nicely. There’s nothing sincerely attractive in death metal music; one listen to anything Death or Cardiac Arrest solidifies that sentiment, and usually the less attractive music is bodes better for the band. Cianide has always stayed true to the concept without falling through the cracks of commercialism and insipidity. “Contained and Controlled” is the shredder’s delight, pounding riffs and drum beats into your cranium like a rusty railroad spike. This is one of my favorite tracks on the album because it organizes discord to a discernible degree and sets the stage for some serious thrashing around the local supermarket aisles…ah, well, that was a long time ago, but it can still be done! 

Providing a relevant collective some six years after the last full-length, Cianide demolishes the door between death and doom metal the likes of which is rarely done well. “Idolator” is the sort of track that used to drive metal crowds insane in clubs like Medusa’s or the Cubby Bear back in the day, and I definitely see a similar ring of flailing arms and bodies if this song makes the live Cianide set. Bassist/singer Mike Perun’s vocals are the clear guttural efforts that make the music both decipherable and enjoyable; the music is of high caliber and while not on the technical side of proficiency, there’s nothing left to want for if this type of death metal is your particular interest. One listen to “The One True Death” and you’ll understand the motivation and certainly hear elements of Celtic Frost and Hellhammer throughout.

To be honest, I put off reviewing this or reading anything about it for a few weeks because I wanted to hear it with fresh ears since this band is part of my personal history in a large form, and while nothing will ever compare to 1997’s Death, Doom and Destruction Cianide proves itself a long-standing contender for the legend status in any underground conversation.

Rating: 7 out of 10

(Originally written for www.MetalPsalter.com)

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