(written by Islander) The German metalpunk band Devil’s Hour aren’t trying to fool anyone. They named their 2023 debut EP Black ‘n’ Punk Marauders. The two singles they released that same year were “Beerlethics” and “Blood and Booze on Hallows Eve“. And in case people still weren’t getting the message, they titled their 2024 debut […]
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This EP takes you to the roots of American music, where influences traveled from the Appalachians to Nashville. The opening track, “Baby, Come Back,” features desert-like rhythms reminiscent of the Eagles, evoking a strong desire to embark on a journey. This song captures a feeling of wanderlust, paving the way for the entire record.
The second track, “Can You Feel The Buffalo,” presents a more nostalgic vibe. It highlights the artist’s songwriting skills, demonstrating his ability to articulate emotions through music. This song resonates deeply, appealing to those in search of reflection and connection.
“When Will I Stop Cryin’ (Over You)” showcases a blend of cheekiness and intensity. It serves as a thoughtful exploration of love and heartbreak, akin to the storyline in films like “Walk The Line.” Many listeners will find solace in its lyrics, which resonate with the complexities of moving on after a relationship ends. The artist cleverly balances irony and genuine sentiment, drawing listeners into a relatable experience.
“Make You Mine” opens with enchanting strumming that sparks the imagination. This song evokes the sensation of discovering yellowed Polaroid photos tucked away in a drawer. Each strum unfolds memories, immersing listeners in a wave of nostalgia. The wistfulness of this track makes it a meaningful addition to the EP.
Concluding the EP is “Winners & Losers,” a reflection on life that is nostalgic and introspective. The song penetrates deep within the soul, eliciting powerful emotions. The artist’s vocal delivery is remarkable, instilling a belief in the lyrics and bringing them to life.
Throughout the EP, Johnny Ranck’s voice stands out, drawing listeners into each song with sincerity. His ability to blend humor and heartfelt emotion is fantastic, making this body of work not just enjoyable but also relatable. Whether addressing themes of love, loss, or nostalgic memories, the music transcends simple entertainment, inviting introspection.
The overall production remains true to the roots of Americana. Johnny Ranck balances traditional sounds with modern sensibilities, crafting an experience that honors the past while sounding fresh. The instrumentation complements the lyrical themes, enhancing the emotional depth of each track.
Throughout the EP, the artist showcases a diverse range of musical influences. You can hear echoes of folk, rock, and even a touch of classic country. This mixture creates a rich atmosphere without overshadowing the raw emotion present in the lyrics.
The pacing of the EP is well thought out, highlighting different facets of the artist’s abilities while maintaining listener engagement. The transitions between songs feel natural, with each piece flowing smoothly into the next. This progression allows listeners to fully immerse themselves in the storytelling present in each track.
Johnny Ranck’s self-titled EP is a delightful exploration of the intricacies of life and love. The artist’s ability to convey emotions through lyrics and melody is exceptional. This EP is not just a collection of songs; it’s an experience that resonates with listeners.
Genuine
If you love this music: Discover MoreFor fans of:
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Next up in the 40th anniversary celebration, Orgasmatron shifts into top gear with “Built For Speed”, the second single from Cameron Webb’s brand-new remix of the whole album, created from the original multi-tracks.
A full-throttle Motörhead classic and live staple “Built For Speed” does exactly what it says on the tin: huge riffs, Lemmy’s unmistakable bass and vocals, and a relentless charge from start to finish. The animated lyric video was created by Lee Gregory at ILoveMotion.
Cameron’s remix is part of the Orgasmatron 40th Anniversary Edition, available as a deluxe 3LP bookpack and 2CD, featuring the remastered original mix, the new Cameron Webb Remix, additional studio rehearsals and outtakes recorded in 1985, and the complete BBC Radio 1 Friday Rock Show session from 1986, capturing the band during the Orgasmatron era. The 40th anniversary edition is also available as a 1LP pressing on transparent violet vinyl, featuring the remastered original studio album.
Released in 1986, Orgasmatron featured the line-up of Lemmy, Phil Campbell, Würzel, and Pete Gill. It marked a new chapter for the band, pushing further into heavier territory while retaining the speed, aggression and raw energy that had defined Motörhead from the beginning.
The album’s production was the subject of much discussion among the band and their fans, but beneath it was a formidable collection of songs. “Orgasmatron”, “Deaf Forever” and “Built For Speed” became key parts of the Motörhead live repertoire, while the album’s combination of hard rock, heavy metal and punk influences gave it a character all of its own. Four decades on, Orgasmatron has taken its place as one of the most distinctive and respected records in the Motörhead catalogue.
Now, 40 years after its original release, Orgasmatron is revisited in a new anniversary edition that explores both the album itself and the story behind its creation. The original studio recordings have been remastered for the anniversary and cut at half speed from the original tapes, while longtime Motörhead collaborator Cameron Webb has created a brand-new remix and remaster from the original multi-tracks.
The Motörhead team explain: “Orgasmatron is a special album. Part of that is down to the stylized production of Bill Laswell, who approached the work from a unique perspective. Bill’s work stands in its own right as something special in the Motörhead library, and Orgasmatron stands as one hell of an album. However, there was some controversy in the sense that both Lemmy and Phil Campbell felt that some of the power, bite and energy had been lost in Laswell’s final delivery.
As old-school Motörhead fans, we found ourselves sitting around the coffee table one night several months ago, drinks in hand, pondering what Orgasmatron would sound like if it were to be remixed by Motörhead’s longtime producer, Cameron Webb. Cameron helmed six studio albums, and it’s fair to say he had the trust, love — and grumbles too! — of Lem, Phil, and Mikkey. Would it be ‘right’ to ask him if he wanted a crack at remixing Orgasmatron? Would it be disrespecting the original album if we were to offer such a thing alongside Bill’s original work? We concluded a big fat ‘no’! It would be an added adventure if people wanted to take it. So we asked Cameron if he was up for it. And he screamed a rather enthusiastic ‘yes’!”
For Cameron, the opportunity was particularly personal: “My brother introduced me to Orgasmatron when I was 14 years old. I heard the song and thought, ‘Is this even music?’ It was like the devil coming through my cassette tape. And I loved it. That record and Rock ’N’ Roll were my Motörhead records, so being asked to work on this is incredibly special to me. I honestly don’t know anyone in the world who would be more excited than me to do it.”
At the same time, Webb was keen to preserve the character of the original recording and acknowledge the work of producer Bill Laswell and engineer Jason Corsaro: “I love the fact that the original is wild and a little messy. I wanted to be respectful to what Jason Corsaro and Bill Laswell created, rather than simply trying to make it sound like a modern heavy metal record. When we opened up the original 24-track tapes, you could really hear how creative they were with the sounds, particularly the drums. There’s so much character in that recording, and I wanted to preserve that.”
With the original mix in mind, Webb also approached the remix by considering what Lemmy and Phil might have wanted to hear: “Lemmy and Phil both said they didn’t like the original mix, so I thought about what they might have asked me to do if they were sitting next to me. I tried to channel what I knew about them and their approach to recording — bringing out the bass here, defining the guitars there — while still respecting what was already there. The aim was never to replace the original, but to reveal more of what was inside it.”
Orgasmatron 40th Anniversary Edition is available here.
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