rating: 3.5What is there to say about Motörhead than hasnt been said? Now onto their 21st album and still going just as strong as ever (despite Lemmys increasingly dire health issues), Aftershock continues to deliver the same signature mix of greasy powerchords and driving basslines - nitrous-fuelled as always by Lemmys marmite vocals. Forever a sticking point with many rock fans is the combination of Motörheads lack of compositional progression across their discography, twinned with Mr. Kilmisters vocals, which are now sadly noticeably weaker than before. However, from opening pulse-generator Heartbreaker to the gear-change solo in Do You Believe, this is still unashamedly Motörhead through and through. Production-wise Lemmys bass tone sounds as downright nasty as ever, and with the band themselves already living legends, youd expect nothing less at this stage. Whilst other metal festival stalwarts Slayer are going through something of a motivation-crisis having been in the game for three decades, even on Aftershock despite doctors advising him to lay off the lifestyle, Lemmy is powering on. Clearly the detractors didnt hear Slash-collaboration Doctor Alibi where he assured all of us hed keep going regardless of anything as long as someone told him he should. On a pure songwriting front, Aftershock is a solid entry to the wider discography, with the bone-powderingly heavy Silence When You Speak To Me being a standout track, alongside the quasi sequel-song Going To Mexico, another slamming track that connotes the driving rhythms of its brethren Going to Brazil. Thats not to mention Lost Woman Blues that sees the ageing legends turn the dial down for a softer tale of the one who got away. Its something different for those who are more accustomed to the louder side of life, yet at the midpoint the distortion is liberally caked back, rounding off a great addition to the album. http://www.youtube.com/watch?v=ur80-xJIElw Overall though this is much more of the same, but to be honest no one is expecting anything else or less, and when youve single-handedly invented something as widely used as double-bass-pedalling (which is put to insanely sick effect on the intro of final track Paralyzed), being able stick to such a youthfully-birthed regimen is deserving of respect in of itself. Motörhead are just as much an integral pillar supporting the hard rock faithful as AC/DC or Thin Lizzy, and forever will they remain so. Aftershock is a killer album for fans old and new, and with Phil Wizzo Campbell still letting fly with his signature wah-tone every few minutes alongside fellow immortal Mickey Dee who delivers concrete fills as always, Motörhead are a suitably meaty serving of your trusty Sunday roast; reliable, expected, overall just more of the same, but oh-so immeasurably satisfying.