review: metallica – death magnetic

It’s hard to believe that it’s been 25 years since Metallica released their debut album Kill ‘Em All. After their utter dominance of the Rock and Metal world in the 1980’s, Metallica exploded into the 90’s with their biggest selling release to date, the self titled album often referred to as ‘The Black Album’. The album was well received and sold millions, but many were left disappointed with follow up albums Load and Reload. The band’s controversial decision to change their musical direction towards a slower hard rock style, abandoning their thrash metal roots in the process, did not go down well with fans.

By the time the band release 2003’s St. Anger, this was a band in turmoil, with some critics claiming the album to be the final nail in Metallica’s coffin. The long drawn out songs, poor production and lack of solos seemed to drive many fans further away from the Metallica they grew to love in the early days. However this is 5 years on and we are faced with a new Metallica: a Metallica with renewed energy, ready to silence the critics and prove they still command a relevant place in modern music.

Death Magnetic storms into action with fierce intensity, opening up with future thrash classic That Was Just Your Life. The sound of a heartbeat looms large in the intro, giving way to one of Metallica’s best album openers since Blackened in 1988. The opening track weighs in at over 7 minutes in length, but the variety of memorable riffs keeps your interest to intact until James Hetfield signals the end with a growl of ‘THAT WAS JUST YOUR LIFE’.

This quickly follows with a fast and heavy double header of The End Of The Line and Broken, Beat and Scarred, the first containing riffs cleverly reworked from a previously unreleased song, and the latter addressing singer Hetfield’s previous troubles with alcoholism.

By the time you have reached The Day That Never Comes you’ll more than likely appreciate the break it offers, all be it for only half a song. This track, the band’s first single from Death Magnetic, starts with the typical dark ballad style seen in previous Metallica songs such as Fade to Black and One. In fact, the song borrows a similar structure to the latter mentioned One, building ferociously from a slow moody ballad to an all out speed fest, culminating with a blistering Kirk Hammett solo.

The standout track on this album is All Nightmare Long. A snarling thrash song about someone who suffers from persistent nightmares, think a heavier version of Enter Sandman coupled with the band’s most memorable chorus since Seek and Destroy. It could easily have been the song they forgot to include on Ride the Lightning, similar to For Whom The Bell Tolls in the way the intro gives way to a near two minute jam before James utters the words ‘LUCK… RUNS… OUT!’ with menacing conviction.

There are so many tight riffs and time changes in this song that it really does keep you on your toes ‘till the very end, despite being one of the longest songs on the album. Add to that a fake ending and one of the fastest alternate picking riffs (6:16) I have heard from the band in quite some years, this is right up there with Metallica’s best songs of all time.

The album rumbles on with the catchy groove metal tune Cyanide. A very dark song lyrically, filled with metaphors about death and suicide featuring yet another memorable chorus that’s certain to stay in your head for quite some time. Already played live by the band several times, this is sure to become a regular feature in the band’s touring set list.

The end of Cyanide signals another break in the action for listeners, with the introduction of probably the most eagerly anticipated song on Death Magnetic; the third and final part of the Unforgiven trilogy. Some fans will struggle to comprehend that the first minute or so of this song could have been written or even performed by Metallica. A sad sounding piano intro, gives way to a clean and rather ominous sounding clean guitar part building to the heavy riff that provides the back drop for the song’s chorus. It would always have been a difficult task to match the original song; however Unforgiven III is a very solid effort by the band and a worthy song to complete the trilogy. Watch out for Kirk Hammett’s solo on this song; one of the best on this album in my opinion.

As the album draws to its conclusion, it begins to gather pace again. It’s too easy to use the phrase ‘one of highlights of the album’ but The Judas Kiss really is exactly that. If ever there was a song written to be played live this is it. There are two noticeable ‘live bits’ in this song, sandwiched either side of another face melting solo from Kirk Hammett. The first, a rumbling chugging riff accompanied by a slow and eerie Hammett solo, building with speed and intensity to a complete breakdown (think Creeping Death) with some sharp drum fills from Lars Ulrich along the way, who I must add has really upped his game on this album.

After your first listen of Death Magnetic you’ll be hard pressed to choose between this song and All Nightmare Long as having the best chorus on the album. Either way, the screams of ‘BOW DOWN, SELL YOUR SOUL TO ME’ immediately grab your attention and certainly indicate that the snarling growls of the mid 80’s are back and here to stay, something that will no doubt please fans of the band’s earlier albums.

The ninth and penultimate track on the album, Suicide and Redemption, is the band’s first instrumental since 1988’s To Live Is to Die. Weighing in at just under 10 minutes, this is the longest on the album and one of the longest in the band’s history. Yet like other songs on Death Magnetic, it twists and turns from one riff to another, but never threatens lose your interest. Robert Trujillo’s rumbling bass line in this song is one the highlights of the album, and marks a welcome turn around from the band who have been guilty of being more than a little ‘bass shy’ in the past.

In some ways Death Magnetic follows a similar blueprint to their Master of Puppets album. Starting fast followed by a slow ballad to calm things down, peaking in the middle, with an instrumental near the end and finishing up with another fast and heavy thrasher at the end. In this instance, the fast and heavy end to song in mention is My Apocalypse.

Listening to the beginning of My Apocalypse it’s easy to hear the Harvester of Sorrow influences on this track, especially the slow galloping drum beat in the background. That’s not say that it’s a copy, far from it. This is a track sure to please the die hard fans of the bands early thrash metal years, and another highlight of Metallica’s return to their roots that makes for a perfect close to this album.

As the album draws to a close, it’s pleasing to hear that Kirk’s solos are back, Lars has tightened up his drumming and James seems to have won his fight with alcohol addiction. However special mention must go to the contribution new bassist Rob Trujillo. Since joining the band in 2003, he seems to have injected a renewed energy into those around him and now appears to have a strong influence on the band both musically, and on stage. He truly excels on this album with The End of Line, Cyanide and most significantly Suicide and Redemption being notable highlights of his playing. Rob has always been noted for his energetic live performances, something he will need to continue whilst playing many of these songs live.

Many, myself included, anticipated the release of Death Magnetic with cautious excitement. I don’t think it would be harsh to suggest that another album in the same vein as previous release St. Anger could well have consigned the once great Metal giants to forever being thought of as a ‘nostalgia’ act, a band still able to draw in the crowds but unable to reproduce anything like the flair and fire of their youth. Fast forward though to 2008 and Metallica have sent out a very clear message to the Metal world… “Write us off at your peril!”.

It’s fair to say that in Death Magnetic, Metallica have produced arguably their finest album since 1988’s …And Justice for All, and some (myself included) would go as far as saying that this album is right up their with their legendary 1986 album Master of Puppets. I can hear the collective gasps of disapproval at that comment but yes, I went there, I said it. This album is nothing short of a masterpiece, and proves one thing. Metallica are back, and ready to reclaim their crown as the undisputed Kings of Metal.