If you were to make a connection between Motorhead and any other genre of music, the most direct would be punk rock. Though famously they played rock n roll, Lemmy and the boys had the same, D.I.Y, non-conformist and often politically motivated ethos as those in the punk scene. Just look at their covers of The Ramones, Sex Pistols, and the numerous tours with The Damned.
Punk rock and Motorhead go together and this new compilation proves that in spades. With covers from Rancid, Pennywise, Lagwagon, GBH and more, this record, which is part of the 50th Anniversary of Motorhead campaign, is 14 tracks of noise that united tow very distinct fandoms back in the day and continues to break boundaries now.
You would often see punks and metalheads all in that same Motorhead gigs, after the gatekeeping of the first wave of punk disappeared the tribes converged and Motorhead were the band to keep the peace (louder than everything else mind you). I'm sure most of the bands here were probably inspired to write speedy, anarchic music by that grizzled snarl and rapid bass of Lemmy, the insistent drumming of Filthy and the rapid riffs of Fast Eddie.
All of the covers here showcase the notion that Motorhead are punk, each band are doing their best Motorhead impression from Pennywise's Ace Of Spades and Rancid's Sex & Death, through The Bronx's Over The Top, Fear's The Chase Is Better Than The Catch, to Anti-Nowhere League's Born To Raise Hell and Soldiers Of Destruction's Overkill, nothing is changed to wildly to fit with the individual bands aesthetic, they sound both like the originals and a song by the act in question thus is the strength of Motorhead's punk rock credentials, if anything some of these bands are playing guitar solos for the first time!
It's miraculous just how comfortably Motorhead songs fit in the punk sound but then as I've said it should be obvious, especially when you get to the final track which is a previously unheard version Neat Neat Neat recorded by Motorhead alongside The Damned in 2002, and they smash the hell out of it, owning as if it's their own.
The 50th anniversary of Motorhead, has unearthed and created some great things but Killed By Deaf is one of the best. Punk rock n roll in tribute to the loudest band in the world, make sure to play it loud. 8/10
StarAce - Real (Self Released) [Matt Bladen]
In latest edition of albums I should have reviewed earlier, it's Real, the debut from StarAce. Now when this record began I was immediately taken back to my first time discovering Tom Petty And The Heartbreakers, that fusion of radio rock, honest Americana and down home blues is all present from the first notes of Right In The Middle.
Real has authenticity to it, produced by David Frangioni who has worked with Aerosnith and Kiss, it's just drips with the songwriting of road-weary troubadours, playing every mom & pop joint in the heartland of America. What may surprise you then, is that StarAce hail from São Paulo in Brazil not Nashville in Tennessee, which is thoroughly confusing when they play a song called My America.
Not that you'd be able to make that connection at all as StarAce's debut draws from the legends of the country/blues/southern rock, as well as more recent acts like Blackberry Smoke (Another Day Gone By) and Robert Jon & The Wreck, who bring those Americana influences bang up to date, ready for mass radio consumption.
StarAce began working on this record before COVID but this stalled during the pandemic of course but then it was full speed ahead recording these 12 songs live in the studio, showcasing their commitment to it being, Real, blood, sweat and tears as the themes of community, information overload, abuse of power and of course love all feature.
StarAce are comprised of brothers Julio (vocals/guitar), Luiz (bass), and Thomaz Starace, their familial unity strong on every track like a country rock Von Hertzen Brothers on Dark Side which blends The Eagles with Dire Straits, the core trio, creating these songs with their sibling synergy.
Joined by guitarist Chris Dias and keyboardist/vocalist Bia Tucci, who brings atmospheres to Mystical Cat which draws from Led Zeppelin and even Boston, One More Night In Nashville rubs some stank on it as Fighting My Shadow and Blue Water are both shuffling country, again showcasing how much StarAce care about being authentic to their influences and to themselves.
I'm gutted I missed this album the first time so consider this rectified, Real is a the real deal. 9/10
Spectral Sorcery - Hyperspace Odyssey (Psalmodist Records) [Mark Young]
And for my last review of 2025, it is two things. One, its 2 months late (apologies all round, nothing as big and riffy as this should ever fall between the cracks) and Two, its massive. Three songs that wrap up in 42 minutes give you a brief sense of what they are about, and what they are about to bring. I should point out straight away that this is purpose built for those who love their doom with a definite lean into psychedelic. It immediately reminds you of Hawkwind and bands of that ilk, especially on the lead off track, the aptly titled Hyperspace Odyssey because this is a journey.
One that brings all of the traditional weapons of doom into play – the organ, Wah that sounds like it has been soaked in honey, long solo’s and repeated measures, kept in check by a rock-solid groove. There is a brilliant melodic line that underpins the whole song, providing that base from which they can then run off and add those embellishments that make its 21-minute run time fly past.
For me, this would be one of those tracks that would be a blast to jam, especially the outro lead breaks that have the right balance of emotion and skill to them, which instantly appeal to me as someone who is limited in his playing (I’m obviously not suggesting that these guys are limited in their playing). This is a massive song, chock full of glorious guitar and should be front and centre on any Psych Doom fans playlist and is worth the price of admission alone. Just releasing the one song would have been acceptable, at least to me.
And then they bring you Dreams Of Arrakis which keeps that stoner vibe in full effect, splitting the song into phases that bring us more of those blissed out leads. The use of effects run rampant on this, and they only add to that spaced out feeling the song evokes. Its not driving music, this is rest and relaxation music of the highest order. The way that they arrange this is undoubtedly similar to Hyperspace, but only in that they realise that it must have that outgoing payoff in order to close the song out properly.
Completing the hat-trick is Spelljamming Time, which comes with an organ drenched arrangement that owes a little to Pink Floyd before they bring out the big fuzz and the riffs. This has more of a looser composition, and as a result seems to drag a little when compared to those that came before it. It doesn’t make it any less worthwhile in terms of kicking back to this and like before the ending close out is spot on.
What you can’t escape from is the fact that they can write and arrange some of the finest Psych/Doom/Stoner music currently released by anyone. If you have any appreciation for this genre, you have to get onboard with them now. Again, I can only apologise for missing this, but in some respects doing it so late could hopefully shine a light on what was one of the releases of 2025. 8/10
Thus Defiled - Through The Impure Veil Of Dawn Remaster (Vic Records) [Mark Young]
OK, so when I think of black metal, the sound generated by Thus Defiled is exactly what comes to mind. I’ll confess that back in the early 90’s I wasn’t the biggest fan. At this time, it felt that fans of it were fans because it polarized opinion, especially amongst those that loved the more established names in metal. Through The Impure Veil Of Dawn is their debut album, remastered and inclusive of bonus tracks from 1994.
Lets get the elephant out of the room. Despite being restored and remastered it still sounds of its time. The chances are, that if you weren’t onboard with it back then, then you won’t be now. As a snapshot of a period in time, its fabulous. A British act, turning in their own take on what black metal is (at least to them) with songs that charge forward in each case, possessing that icy vibe that the Scandinavian acts of the day had. How does it hold up now, 30 years later? Quite well, it has to be said.
And then they bring you Dreams Of Arrakis which keeps that stoner vibe in full effect, splitting the song into phases that bring us more of those blissed out leads. The use of effects run rampant on this, and they only add to that spaced out feeling the song evokes. Its not driving music, this is rest and relaxation music of the highest order. The way that they arrange this is undoubtedly similar to Hyperspace, but only in that they realise that it must have that outgoing payoff in order to close the song out properly.
Completing the hat-trick is Spelljamming Time, which comes with an organ drenched arrangement that owes a little to Pink Floyd before they bring out the big fuzz and the riffs. This has more of a looser composition, and as a result seems to drag a little when compared to those that came before it. It doesn’t make it any less worthwhile in terms of kicking back to this and like before the ending close out is spot on.
What you can’t escape from is the fact that they can write and arrange some of the finest Psych/Doom/Stoner music currently released by anyone. If you have any appreciation for this genre, you have to get onboard with them now. Again, I can only apologise for missing this, but in some respects doing it so late could hopefully shine a light on what was one of the releases of 2025. 8/10
Thus Defiled - Through The Impure Veil Of Dawn Remaster (Vic Records) [Mark Young]
OK, so when I think of black metal, the sound generated by Thus Defiled is exactly what comes to mind. I’ll confess that back in the early 90’s I wasn’t the biggest fan. At this time, it felt that fans of it were fans because it polarized opinion, especially amongst those that loved the more established names in metal. Through The Impure Veil Of Dawn is their debut album, remastered and inclusive of bonus tracks from 1994.
Lets get the elephant out of the room. Despite being restored and remastered it still sounds of its time. The chances are, that if you weren’t onboard with it back then, then you won’t be now. As a snapshot of a period in time, its fabulous. A British act, turning in their own take on what black metal is (at least to them) with songs that charge forward in each case, possessing that icy vibe that the Scandinavian acts of the day had. How does it hold up now, 30 years later? Quite well, it has to be said.
The remaster that has been done is one that keeps it sounding like it did back in 1994, just better. Its not super processed or over produced, it’s just cleaner but with that lo-fi sound still in place. If you were listening to this now as a new release you might say that they have gone all out for recording it in a cave but is in keeping with the vibe they wanted. The songs themselves, are a definitive snapshot of how black metal sounded back then. Rapid changes in tempo, frigidly cold piano and guttural vocals punctuate the album and it has a guitar sound that grinds off your teeth.
If you wanted to compare it to latter day releases, you could argue that it sounds almost primitive, never mind Old School. But that is its charm. The songs themselves are as good as anything being released at present and again that is dependent on how you take your black metal. In approaching it the way they have, they have kept it as close to how it was originally released, treating it with respect and in doing so opening it up for a new audience. 7/10
If you wanted to compare it to latter day releases, you could argue that it sounds almost primitive, never mind Old School. But that is its charm. The songs themselves are as good as anything being released at present and again that is dependent on how you take your black metal. In approaching it the way they have, they have kept it as close to how it was originally released, treating it with respect and in doing so opening it up for a new audience. 7/10
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