Review by Felix on January 1, 2023.

Yes, I have seen the very high average for this album. Nevertheless, “Orgasmatron”, this seems pretty clear to me, is definitely no spectacular album and, honestly speaking, with the exception of the irresistible drive of “Ace of Spades” (the song), Motörhead has never been a spectacular band. But firstly, it’s the 28th of December and therefore I feel the duty to upload another Motörhead review nobody has been waiting for. And secondly, life itself also does not hold a lot of spectacular moments. Therefore, Lemmy’s gang was always authentic and down-to-earth and this is probably of higher importance than any kind of spectacular song experiences.

“Orgasmatron” delivers some leisurely rocking tracks. Frankly, the only songs I really liked back in the speed-thrashing eighties were “Claw” and “Riding with the Driver”. Here the four-piece (!) does not hesitate, the tunes go straight ahead and both choruses have a raw yet catchy touch. It took me some time that almost every song scores with a solid degree of catchiness. But do not get me wrong, catchiness was not the most important feature for me back in the golden decade of (thrash) metal. Drunken by the violence and precision of acoustic riots like “Bonded by Blood” or “Hell Awaits”, a song like the powerless “Built for Speed” was nothing but music for old men (unbelievable, but I was just 18 years old) and “Deaf Forever” marked a decent but lame opener. Motörhead had been the epitome of antisocial brutality just a few years ago, now they were a toothless tiger, overran by the thrash hordes from the Bay Area, Germany and so on.

Today I still think that there is no basis to call “Orgasmatron” an underrated classic. Some of its pieces lack energy and dynamic. But I have better understood the special charm of Lemmy (R.I.P.) and his comrades. If I disregard the idea of competition for the hardest record in the world, Motörhead’s work from 1986 holds a collection of solid-to-good tracks. “Mean Machine”, for example, gives you a proper does of aggression and velocity, “Ain’t My Crime” makes you sit up and take notice thanks to a good flow and the title track (Lemmy: this is a song about the three things I hate most - religion, politics, war) delivers the entire portfolio of wickedness. Our icon’s usually monotonous voice expresses an enormous portion of cynicism and contempt with the consequence that the sinisterly stomping hymn to evil has become a little classic.

Finally, the production lacks pressure. It puts the focus on Lemmy’s voice (strange decision, haha), while the instrumental section sounds almost blurred. I miss sharp guitars and thundering drums. Maybe it is easier to like the production and the entire album if one has discovered it some years after its release, because the work sounded antiquated right from the beginning. In 1986, Motörhead looked like a fossil from the metallic Stone Age. At least, Lemmy had not lost his inner compass and therefore “Orgasmatron” is no outstanding, but an honest work.

Rating: 7 out of 10

Review by Kostas on July 28, 2023.

After the mighty Theogonia, Rotting Christ made it clear that they would follow a melodic yet extreme metal path. However, what followed with Aealo was a brutal outbreak. To be accurate, this is a good album, which however serves no particular role but brutalize the listener. And it manages so through its powerful and aggressive rifts and song structures.

It is these same dynamic characteristics which are present from the very first second of this album, with the title track instantly throwing you in a warzone of different musical elements. The guitars and rifts are of course better than ever, although a bit repetitive. There are the classoc Rotting Christ riffs, with the solos playing the most important role in Aealo, since like always, they are catchty and clever. Drumming keeps the power flowing, but there is little interest and inspiration in it. Even if Themis has become a good drummer after so many releases and live shows. What definitely steals the show here is the folk character of the record. The traditional music influences are definitely more straightforward than in Theogonia and make Aealo different and special.

However, these interesting incorporated elements are not enough to save this album from its downsides. Lack of depth and atmosphere are the main problem this time. Which is a pity, considering the haunting auras of Khronos and Sanctus Diavolos. Besides 'Δαιμόνων Βρώσις', the absolute highlight of Aealo, the rest of the tracks are nothing more than a collection of similar fighting warsongs. This doesn't mean they are not well-written. It does however mean that there was lack of inspiration and variety. And unfortunately, this makes it tiring or even impossible (depending on your mood) to listen to the whole album at once.

Aealo is of course no bad album. The power it emits is in fact awe-inspiring at times. There are also interesting experimentations in this record, one of them being a collaboration with Diamanda Gallas. Sadly, on the other hand, most songs sound similar and only serve as hits for a diehard mosh pit or something. But, considering the band's abilities, let's just see Aealo as a minor disappointment and the album that lead to the incredible Κατά Τον Δαίμονα Εαυτού.

Rating: 7 out of 10