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Album Review: Motorhead ‘The World Is Yours’

Published

13 years ago

on

Motorhead is in many ways the runt of the Metallica/Megadeth/Anthrax litter. Though not thrash metal by any means, Motorhead still had the raw energy and attitude of aforementioned bands and was, at least back in the day, as recognizable a name. However, aside from a few big hits, they fell to the wayside as the rest of the pack went on to bigger and better things. But that doesn’t mean that Motorhead has lost any of its tenacity or drive to keep on keeping on. So with that, they have released their latest album, ‘The World Is Yours’. How does it fare? Check after the jump for all the details.

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The album kicks off with ‘Born To Lose’, which starts off heavy and awesome, in a man-I-wish-I-knew-where-my-jeans-jacket-is kind of way. It’s identifiably Motorhead and hearing Lemmy belt it out is pretty nostalgic in its own way. The issue I have with this track is that many of the riffs and progressions are so overused that I found myself getting distracted trying to remember how many songs I’d heard them in. Still, it’s a fun track.
The rest of the album, however, doesn’t know which direction it wants to go in. Is it classic heavy metal? Is it hard rock? Is it country/southern heavy rock? That’s the major issue with ‘The World Is Yours’: It shoots up high but doesn’t know where to land. It makes for a somewhat frustrating listening experience because I would get into a musical style only to have it switched on me with the next track. 
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The production is overall really solid. The guitars have a great overdrive/distortion tone going on that’s really articulate and Lemmy’s bass sounds thick, clear and round-bottomed (Just how I like my women. Wait, clear?). Lemmy’s voice hasn’t changed at all and if you dug his snarling intense delivery before, you’ll love it here. The only complaint I have with the production is that the drums, while really well mixed and engineered, just don’t have any ‘oomph’ behind them. Basically put, they sound kinda wimpy. 
The Final Word: A mix of classic heavy metal, hard rock and southern rock, ‘The World Is Yours’ suffers from not knowing which genre to focus on the hardest. Meandering here and there, the best I can say of ‘The World Is Yours’ is that it sounds great and a couple of the songs will get you pumped. But definitely not the whole album. 
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Music

“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

Published

1 week ago

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April 9, 2024

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John Carpenter music

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…

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