For whatever reason this review never made it to "press". I think it may have had something to do with the fact that I wasn't particularly kind to the Metallica dudes and that Crossfire was doing the press for 'Death Magnetic' and couldn't be seen to be saying that the album was anything less than amazing. It could have simply been down to the fact that it was far to lengthy and wordy for a chart review.
It may have even been down to the fact that it just wasn't good enough. Either way it finally emerges here on my blog.
Consider this and future unpublished shit my B-sides.
--------------------------------------------------------------------------------
Metallica are dead. Well, the Metallica I love are dead. For all of you out there expecting a long awaited “return to the glory days” it ain’t gonna happen. Ever. However, and that is a big however, Death Magnetic comes a close as anything is ever going to get to their past glories.
With the bitter, bitter taste of “the Scottish play” (St.Anger) still in my mouth I was worried that this new Metallica effort was going to finally make me hurl my guts up. I didn’t. Not even close. This is a really good record. Not just a good record but the best ‘tallica release since ‘The Black Album’. Fact. Rick Rubin has seemed to have given the old boys direction. The tempo is so fast in stages that you can see little flashes of iconic albums ‘Master Of Puppets’ and ‘Ride the Lightening’ while other parts seem to reflect the ‘And Justice For All…’ period. The tracks are longer and the speed (not the drug, unfortunately) has returned. Rubin’s “hand’s off” approach to recording with bands has clearly demonstrated that the days of Bob Rock breast-feeding Lars, being James’ shoulder to cry on or ignoring Kirk’s axe ability seem to be over.
‘That Was just Your Life’ is ‘tallica’s opening gambit. With a chugging breakdown mid verse followed by a vintage feel chorus and solos where as track two, ‘The End Of The Line’, has a definite ‘Creeping Death’ feel to it. A clear sign that the band seem to have finally got the message and now giving the fans what they want rather than what they want to play to massage their egos.
James Hetfield’s voice on this record is fantastic for the most part. It doesn’t sound like he’s ripping out his own jugular and gargling with whiskey anymore, but he does spit his, at times, venomous lyrics at you in a way which has been lacking for more than a while. No more surly, redneck ramblings here. There are no signs of the “my lifestyle determines my deathstyle” offal we were force fed on that previous album. *shudder*. The single ‘The Day That Never Comes’ also gives an insight to what seems like a quite a personal song to Hetfield. The whole dodgy childhood angle being looked at here, me thinks. It has an ominous build up to which then explodes into some amazing riffs. A comparison to the classic tracks ‘One’ and ‘Fade To Black’ will spring immediately to mind.
The obnoxious, little Danish bloke has put down his trash cans is now playing drums again. Finally, Lars Ulrich is drumming again rather than kicking toasters down staircases. He layers the track with complex fills and bridges. Lars has not impressed in years and has seemed to have found his power button again. He gives Death Magnetic that ‘I need to hear this live’ feel.
This record sees the return of Kirk Hammet’s solos. Not only is he returned but he has been unleashed! I had forgotten how good he was. The solos are thrashy and almost impossible but he has seemed to rekindle his passion for his music. Just check out the solo in ‘Broken, Beat & Scarred’. Pure sodding genius! The track ‘Cyanide’ would be a dull demo if it wasn’t for Hammet’s magic axe work mid way through the song.
Robert Trujillo and his bass guitar seem a little buried at times. “Really?!” I hear you cry, sarcastically. On the other hand, he eeks the spotlight away from the other three at times with his bass work. Epic, instrumental track ‘Suicide & Redemption’ is a great example of Trujillo’s ability. On Death Magnetic he’s been credited with having a larger role in the writing process that previous bass players and it’s clear why. Rob. Trujillo, bass player for hire, whatever you want to call him. He fits the band perfectly.
Death Magnetic sees the third chapter in the ‘Unforgiven’ series with the surprisingly titled ‘The Unforgiven III’. This is track is what we have come to expect from the style of these songs with addition of a brass and string section as well as a piano interlude. It’s a huge song with tons of power behind it and provides an alternative to an album that seems to blur into one at times.
With the bitter, bitter taste of “the Scottish play” (St.Anger) still in my mouth I was worried that this new Metallica effort was going to finally make me hurl my guts up. I didn’t. Not even close. This is a really good record. Not just a good record but the best ‘tallica release since ‘The Black Album’. Fact. Rick Rubin has seemed to have given the old boys direction. The tempo is so fast in stages that you can see little flashes of iconic albums ‘Master Of Puppets’ and ‘Ride the Lightening’ while other parts seem to reflect the ‘And Justice For All…’ period. The tracks are longer and the speed (not the drug, unfortunately) has returned. Rubin’s “hand’s off” approach to recording with bands has clearly demonstrated that the days of Bob Rock breast-feeding Lars, being James’ shoulder to cry on or ignoring Kirk’s axe ability seem to be over.
‘That Was just Your Life’ is ‘tallica’s opening gambit. With a chugging breakdown mid verse followed by a vintage feel chorus and solos where as track two, ‘The End Of The Line’, has a definite ‘Creeping Death’ feel to it. A clear sign that the band seem to have finally got the message and now giving the fans what they want rather than what they want to play to massage their egos.
James Hetfield’s voice on this record is fantastic for the most part. It doesn’t sound like he’s ripping out his own jugular and gargling with whiskey anymore, but he does spit his, at times, venomous lyrics at you in a way which has been lacking for more than a while. No more surly, redneck ramblings here. There are no signs of the “my lifestyle determines my deathstyle” offal we were force fed on that previous album. *shudder*. The single ‘The Day That Never Comes’ also gives an insight to what seems like a quite a personal song to Hetfield. The whole dodgy childhood angle being looked at here, me thinks. It has an ominous build up to which then explodes into some amazing riffs. A comparison to the classic tracks ‘One’ and ‘Fade To Black’ will spring immediately to mind.
The obnoxious, little Danish bloke has put down his trash cans is now playing drums again. Finally, Lars Ulrich is drumming again rather than kicking toasters down staircases. He layers the track with complex fills and bridges. Lars has not impressed in years and has seemed to have found his power button again. He gives Death Magnetic that ‘I need to hear this live’ feel.
This record sees the return of Kirk Hammet’s solos. Not only is he returned but he has been unleashed! I had forgotten how good he was. The solos are thrashy and almost impossible but he has seemed to rekindle his passion for his music. Just check out the solo in ‘Broken, Beat & Scarred’. Pure sodding genius! The track ‘Cyanide’ would be a dull demo if it wasn’t for Hammet’s magic axe work mid way through the song.
Robert Trujillo and his bass guitar seem a little buried at times. “Really?!” I hear you cry, sarcastically. On the other hand, he eeks the spotlight away from the other three at times with his bass work. Epic, instrumental track ‘Suicide & Redemption’ is a great example of Trujillo’s ability. On Death Magnetic he’s been credited with having a larger role in the writing process that previous bass players and it’s clear why. Rob. Trujillo, bass player for hire, whatever you want to call him. He fits the band perfectly.
Death Magnetic sees the third chapter in the ‘Unforgiven’ series with the surprisingly titled ‘The Unforgiven III’. This is track is what we have come to expect from the style of these songs with addition of a brass and string section as well as a piano interlude. It’s a huge song with tons of power behind it and provides an alternative to an album that seems to blur into one at times.
‘The Judas Kiss’ seems to be leaning in more of a new Metallica direction but still exploits James’ howling vocal talents. The awesome ‘My Apocolypse’ has that classic thrash metal sound. From the drumming to the build up in the verse and almost boiling over with another, dynamite Hammet solo.
There has been much disappointment with Metallica albums over the years from the self-indulgence of S&M to the downright piss-take that was Load / Re-Load. This album does a good job wiping those from memory. Death Magnetic has more range and depth to it: almost enough to make you forget about their past blunders. Although I’m sure the die–hard fans and “true” metal enthusiasts will still rip it to shreds. But having listened to Death Magnetic I got to thinking; why do people, after all this time, still expect so much from a band that has such a varied music-to-quality ratio?
Is it worrying that we seem to depend solely on Metallica to produce a good, mainstream, metal album? Is it worrying that there has been no metal band has been able to grab the torch from their shaking, liver spotted paws and scream “Fuck off old man. This is how you shred!”? Yes. Yes it is.
Despite their sober and life loving ways, these art-collecting, thrash pensioners still know how to pull it out of the bag…..just. And for that I’m begrudgingly grateful.
There has been much disappointment with Metallica albums over the years from the self-indulgence of S&M to the downright piss-take that was Load / Re-Load. This album does a good job wiping those from memory. Death Magnetic has more range and depth to it: almost enough to make you forget about their past blunders. Although I’m sure the die–hard fans and “true” metal enthusiasts will still rip it to shreds. But having listened to Death Magnetic I got to thinking; why do people, after all this time, still expect so much from a band that has such a varied music-to-quality ratio?
Is it worrying that we seem to depend solely on Metallica to produce a good, mainstream, metal album? Is it worrying that there has been no metal band has been able to grab the torch from their shaking, liver spotted paws and scream “Fuck off old man. This is how you shred!”? Yes. Yes it is.
Despite their sober and life loving ways, these art-collecting, thrash pensioners still know how to pull it out of the bag…..just. And for that I’m begrudgingly grateful.
I think this is a very balanced review of one of the bands I adore and you do not. I agree with the majority of your sentiments but I have to say I really love this album and thought it was the best album of 2008. Yes I do adore the band and can be biased (sometimes)so I conclude with this - Death Magnetic shows how Metallica are at the top of their game again.
ReplyDelete