“Well, we come up from the gutter/the wrong side of the tracks,” proclaims Motorhead vocalist Lemmy Kilmister on the autobiographical “Whorehouse Blues,” a surprise acoustic blues romp that closes the English band’s 18th studio album. Nearly 30 years have passed since its inception, but time hasn’t softened the trio. Amidst a blitzkrieg of deafening percussion, anvil-dropping rhythms and throttling riffs, Kilmister vows to give “no quarter” on “Killers,” “Suicide” and “Fight.” Sounding more charged than most bands half its age, Motorhead’s uncompromising approach and blue-collar sensibility — death, vigilante justice and accountability remain the themes of choice — affirm that the group, while borrowing from its past, hasn’t vacated the metal throne.
