FOR THE LOVE OF METAL
Track after track of Orgasmatron delivers everything you could expect from a Motörhead record: fuzz, the distinct, violent and sexual, cigarette ravaged vocals of Lemmy, solos to air guitar along with, groove to shake your ass to, and power to pump your fist to.
Last week the inaugural 70000 TONS OF METAL cruise sailed from Miami, FL to Cozumel, Mexico and back and featured live performances by forty-two metal bands. Hellbound.ca was lucky enough to have been able to send four of its contributors on the cruise and here is what they had to say about the performances that took place on Day number two.
Live reviews by Adrien Begrand, Albert Mansour, Kevin Stewart-Panko and Sean Palmerston. All photography by Albert Mansour unless listed otherwise.
February is Motörhead Mönth on Hellbound.ca! Help us celebrate the band’s long running history.
In this writer’s opinion, this album is probably the most cohesive, most consistent effort from Motörhead since 1991’s 1916. So much so, in fact, that it almost seems that album was a template for the songs on The Wörld Is Yours.
You hear a lot of Kreator and Reign in Blood era Slayer on Dead Again, but that’s not a bad thing right. You could hit shuffle on this CD and not find one daft track.
If you don’t already own a copy of Souls at Zero, you need to buy this reissue when it comes out. One of the essential albums in extreme metal, period.
Last week the inaugural 70000 TONS OF METAL cruise sailed from Miami, FL to Cozumel, Mexico and back and featured live performances by forty-two metal bands. Hellbound.ca was lucky enough to have been able to send four of its contributors on the cruise and here is what they had to say about getting to Miami and the first evening’s performances.
Introduction by Sean Palmerston with live reviews by Adrien Begrand, Albert Mansour, Kevin Stewart-Panko and Sean Palmerston. All photography by Albert Mansour unless listed otherwise.
There are always going to be purists who cry foul when a band re-records a favourite song but, really, it’s the band’s song to do with as they will. On Magic & Mayhem though, I don’t see many fans crying foul, in fact, I think the opposite is true. This album shines from top to almost bottom.
Essentially, while Vilipend has a pristine track record thanks to creative dexterity and oppressive heaviness fuelled by overt originality, when experiencing the vitriol, embittered passion and tormented rage of an act such as this through a live album, one really feels the self-abuse, throat-tearing screams and constricting viciousness.
Rhapsody of Fire have spared no expense on this EP, treating it with the same amount of care and detail that they give their full length releases: great story line, fully orchestrated songs, huge production, choirs, blazing guitars, and, of course, Christopher Lee’s voice.