MetallicA – Death Magnetic
Anyone who has ever doubted Metallica’s legacy in the world of music needs only to listen to their latest album once to understand that Metallica is the biggest hard rock/metal band in history for a reason. Death Magnetic, their 9th full studio album, delivers with a heaviness, a ferocity, and a sincerity that has become a rarity in music today. After 2003’s widely unpopular St. Anger(I loved, just for the record) there has been a lot of speculation about whether or not Metallica would be able to deliver another heavy and real metal album. Trust me when I say, that Death Magnetic delivers on all accounts. Oh, and did I mention that all the songs are long? With the shortest clocking in at 5:01, and the longest rounding out at 9:58. This album hits hard and hits fast and drags you along at a million miles an hour. Death Magnetic is Metallica’s heaviest, and possibly best, album since 1988’s …And Justice For All. Yes, that means that I think this album is better than Justice.
The album opens with That Was Just Your Life, as a heart beat leads us into a slow, melodic, dark and unnerving piece of guitar work, somewhat reminiscent of the first few notes of Battery or Fight Fire With Fire. This gives way to the first of many awesome riffs on this album. The drums speed up and Hetfield’s vocals erupt with an energy I haven’t heard from him in years. By the first ‘chorus’ you know exactly what this song, and the album, is going be about and feel like. Life is heavy, grinding, and sounds like something that might be played while your eternal soul is dragged down to hell. In a good way. (Yes, I realize how cheesy that was). At about 4:27 the song hits you with an incredible hook that leads into an absolutely blistering solo by Kirk. If you missed solos on St. Anger, Death Magnetic will definitely make up for it.
That Was Just Your Life transitions into End Of The Line(one of my personal favorites) which opens with a redone, and faster version of the opening riff from 2006’s New Song. From there it rips into another unrelenting series of guitar based events building the song into a massive sonic force. Trying to translate this song into words is proving difficult. The song builds from one riff to another, working from the foundation of New Song. The solo hits with a force that makes you stand back and give a Keanu Reeves like ‘Woah’. Ok, that was bad. From there the song goes into a melodic interlude, not unlike Master of Puppets, slowing the pulse of the album and allowing the listener to catch their breath. For a minute. The song explodes with a yell of “The Slave Becomes The Master!” and the song is back in full force.
In less than a second the album changes from The End Of The Line to the equally as heavy but slightly, and i stress slight, slower Broken Beat & Scarred. But it doesn’t stay that way for long. This song features what I find to be one of the most interesting and compelling guitar hooks on the album, leading into the song grinding along at a steady pace while James lays down the lyrical component before the whole thing takes off running. With intermittent chants of “Show Your Scars” and “No More Scars” the song carries along like a Greek epic. This song is a battle cry. It conjures images of armies marching into the bowels of hell to wage an endless war. And then the battle starts. The song speeds up. It’s that perfect Metallica blend of a massive riff and solo, tying together in perfect metal harmony. The sound pounds to a close and leaves you still reeling by the tie the next track starts.
The Day That Never Comes hits at track number four. I’ve heard a lot of feedback from this song. Some people saying that it sucks, is terrible, etc etc. Others say it’s the new One. I disagree with both statements. The song definitely opens with a clean guitar that screams ballad. After the first chorus the guitars and drums build to something you know is coming…something big…and then we’re swept back into the slow calm. What I mean there, is a good thing. It’s song writing like this that has made Metallica the band that they are. Eventually the song does build into that huge raging beast you can feel hiding behind the clean guitars. James’ vocals hit a new level of emotion and with a cry of “This I Swear” the song morphs into duel guitars and a stunning riff, almost seems right out of …And Justice For All. The guitars fade for a second, the double bass hits and ushers us into one of my favorite riffs of the album at about 6:27. Then the Hammet solo kicks in destroying everything in it’s path. I personally, cannot wait to hear this song live.
The bass that opens All Nightmare Long sounds like the score to a horror movie. It’s deep and foreboding and you know that something dangerous is just around the corner. And then the riff hits, faster and more brutal than anything we’ve heard from Metallica in years. The song hits hard as James growls that luck has run out. Indeed it as for anyone who thought Metallica wouldn’t deliver on this album. This song has the ability to physically abuse you. I’m not joking when I talk about how heavy this song is. All Nightmare Long also features a different riff from New Song. It’s heavy, it’s dark, it’s brutal. It’s everything it should be. Hands down a contender for the best song on the album, and I know that it’s one fans will demand to hear over and over. This song is one high speed guitar chase after another, coupled with great vocal work that melds with the guitars perfectly. Lars’ drumming really ties it all together. The solo in this song is one of the best in years. Kirk has such a cool sound here, I really don’t know if I have heard anything like it. The song comes to a false end, and the comes with what I can only describe as a music punch in the face. It’s a shame that Broken Beat & Scarred didn’t come after this track, because that’s how you are left feeling once it ends. Of course, I mean that in a good way.
If you haven’t heard Cyanide yet, you are either living under a rock, or actively trying not to hear the new songs until you have the album. The intro hits hard and fast and gives way to a nice little bass interlude, before launching right into the first verse. Cyanide is structured a little differently than the other songs on the album. The intro is shorter, and in addition to your classic chorus you have a chorus like bridge, or what I would actually consider a second chorus. The song is put together brilliantly. James’ vocals falter a tad on this track from time to time, but the rest of the band is so strong here, that you really don’t notice. Lars has some incredible drum parts on this song. And Rob’s bass really get a chance to shine through. Once the album drops this song will tear up the radio charts, I have a feeling. Kirk’s solo here seems to last forever, and spawns a few different parts of the song, but really stands out near the end. The song kicks in after the solo with more duel guitars, then back to the bass break down. “Suicide, I’ve already died, you’re just the funeral I’ve been waiting for”.
Unforgiven III was the only song I was weary of. Once I heard that Unforgiven was the work in progress title it had been give, and wasn’t actually related to the first two songs, I became a little more open to the idea. This song, while definitely the slow ballad, is heavier and harder than either Unforgiven to come before it. It opens with a piano piece that can’t be described as anything other than eerie and beautiful. James’ vocal work on this track is impressive to say the least. The guitar has a kind of motion to it that reminds me of waves and being swept back and forth. Very cool. The bass really comes through here and almost over powers the guitar. As beautiful as the rest of the album is heavy. It’s not as polished as ballads of the past like Unforgiven or Nothing Else Matters, but it feels like it has more emotion behind it than even Fade To Black. As the song builds and builds Kirk’s guitar screams to life echoing the lyrics desperation and desire for redemption. Unforgiven III might be the solo of the album. The song dose not end when it’s over. It stays with you.
The Judas Kiss was one of the songs I was most looking forward to hearing. And it dose nothing short of exceed expectations. Seems to be a constant theme with this album. Once the chorus kicks in this song is a force to be reckoned with. Superheroes would battle this song and struggle getting away alive. There is a very cool groove here that is unlike most other things on the album. It’s not the heaviest song here, but there is definitely a feeling to it that will pull you in. When James hits ‘Bow down, sell your soul to me” the song reaches this kind of vortex, that just pulls you in and will not let go. This might be the catchiest song Metallica has written. I say that with great hesitation becuase rarely is ‘catchy’ a phrase that is used in a positive light. But it’s meaning here is pure praise. Kirk nails another incredible solo (sometimes it seems like it might be more interesting if he played a bad one) and Lars’ drums actually distract from the rhythm and bass during it. The second solo is very Reload/Fuel like, and fits the song perfectly. By the third solo (yes, 3 solos) it seems that the guitar has taken on a life of it’s own. Lead into a very cool break down, that leads back into the chorus. James’ lyrics here are slightly reminiscent of the subject matter in Devil’s Dance; fall of mankind, betrayal, seduction and temptation. You know how it is. Very old testament. This song rocks. Lets just sum it up like that.
Instrumentals return with track nine, Suicide and Redemption, which clocks in at a mammoth9:58. Rob gets some very nice bass work in early on before the song hits a great groove. Those looking to win the argument that groove metal and thrash metal are cut from the same cloth need to look no further. The song is kind of a jam, and doesn’t seem to do too much at first. But don’t let that fool you into skipping the track. The band transitions from one awesome groovy riff to another before hitting a serene breakdown that gives you the chance to catch your breath you’ve been looking for since track two. Then a bass line hits you that rips you back into the fury of the album. It’s a slow building grind that works it’s way up and up until the solo hits with a dizzying effect. The guitars scream here. The solo ends and the song is off and running. A galloping double bass keeps the pace up as the song again builds and the drops you off back into the groove riff. And just when you’re feeling comfortable the landscape changes again. An almost Led Zeppelin like drum fill centered part hits, and then it’s back off and running.
My Apocalypse was the first Internet single to be released and had fans in an uproar over it. I was actually giddy the first time i heard this song, playing it at least 10 times nonstop before i took a second to step back and think about it. This song closes the album in the way that Damage Inc and Dyer’s Eve clsoed their albums. It’s fast and furious and relentless. For five minutes this song owns you. This is going to be the mosh pit song of 2008. With intense ‘GO!’ the song hits the next level and the solo rips in, melting every face nearby. The next stage of the song brings the ferocity to a new level and the pounds back into a verse/chorus. The song pounds to an end and closes the album.
All expectations were exceeded here. Every single one of them. Every song is an ace, I’d give them all 6 out of 5 stars if I could. This is the album of the year, no doubt about it. It’s right up there with Master of Puppets, and Justice. Anyone who had any doubts about this album, one listen and your fears will be put to rest. Anyone who is bitching and complaining about this album is doing so purely to get attention. What you have here is a flawless collection of 10 hard hitting songs from the band that made heavy music what it is today.
The Final Stage 