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Call Death Magnetic Kirk Hammett's revenge. Famously browbeaten into accepting Lars Ulrich and producers Bob Rock's dictum that guitar solos were "dated" and thereby verboten for 2003's St. Anger -- a fraught recording chronicled on the 2004 documentary Some Kind of Monster -- Metallica's lead guitarist dominates this 2008 sequel, playing with an euphoric fury not heard in years, if not decades. This aesthetic shift isn't because Hammett suddenly rules the band: powerless to add solos to St. Anger, he couldn't reinstate them without the blessing of Ulrich and James Hetfield, the politburo of Metallica. The duo suffered some combination of shame and humility in the wake of the muddled St. Anger and Monster, convincing these two unmovable forces to change direction. They ditched longtime producer Rock -- who'd helmed every album since 1991's breakthrough blockbuster Metallica -- in favor of Rick Rubin, patron saint of all veteran rockers looking to reconnect with their early spark. Rubin may be the go-to producer for wayward superstars but as the producer of Slayer, he's also rooted in thrash, so he understands the core of Metallica's greatness and gently steers them back to basics on Death Magnetic.
Of course, Metallica's basics are pretty complex: intertwined guitar riffs, frenetic solos, and thunderous double-bass drums stitched together as intricate seven-minute suites. Metallica slowly weaned themselves away from labyrinthine metal during the '90s, tempering their intensity, straightening out riffs, spending nearly as much time exploring detours as driving the main road, all the while losing sight of their identity. This culminated in the confused St. Anger, a transparent and botched attempt at returning to their roots, crippled by the chaos surrounding the departure of bassist Jason Newsted. With all their problems sorted out in public -- including replacing Newsted with Robert Trujillo, who acquiesces to the Metallica custom of being buried far, far in the mix -- the group embraces every gnarled, ugly thing they eschewed in the years since "Metallica." Death Magnetic bounces the band back to the days before Bob Rock, roughly sounding as if it could come after ...And Justice for All. Such a deliberate revival of the glory days can be tricky, as it could make a group seem stuck in the past -- or, just as badly, they can get essential elements wrong -- but Death Magnetic is a resounding success because they hunker down and embrace their core strengths, recognizing that their greatest asset is that nobody else makes noise in the same way as they do.
That's the pleasure of Death Magnetic: hearing Metallica sound like Metallica again. Individual songs and, especially, Hetfield's lyrics -- less the confessional ballast of St. Anger, more a traditional blend of angst and terror -- are secondary to how the band sounds, how they spit, snarl, and surge, how they seem alive. Metallica isn't replicating moves they made in the '80s, they're reinvigorated by the spirit of their early years, adding shading they've learned in the '90s, whether it's the symphonic tension of "The Unforgiven III" or threading curdled blues licks through the thrash. Listening to the band play, it's hard not to thrill at Metallica's mastery of aggression and escalation. There is no denying that the band is older and settled, no longer fueled by the hunger and testosterone that made their '80s albums so gripping, but on Death Magnetic older doesn't mean less potent. Metallica is still vitally violent and on this terrific album -- a de facto comeback, even if they never really went away -- they're finally acting like they enjoy being a great rock band. ~ Stephen Thomas Erlewine, All Music Guide
Of course, Metallica's basics are pretty complex: intertwined guitar riffs, frenetic solos, and thunderous double-bass drums stitched together as intricate seven-minute suites. Metallica slowly weaned themselves away from labyrinthine metal during the '90s, tempering their intensity, straightening out riffs, spending nearly as much time exploring detours as driving the main road, all the while losing sight of their identity. This culminated in the confused St. Anger, a transparent and botched attempt at returning to their roots, crippled by the chaos surrounding the departure of bassist Jason Newsted. With all their problems sorted out in public -- including replacing Newsted with Robert Trujillo, who acquiesces to the Metallica custom of being buried far, far in the mix -- the group embraces every gnarled, ugly thing they eschewed in the years since "Metallica." Death Magnetic bounces the band back to the days before Bob Rock, roughly sounding as if it could come after ...And Justice for All. Such a deliberate revival of the glory days can be tricky, as it could make a group seem stuck in the past -- or, just as badly, they can get essential elements wrong -- but Death Magnetic is a resounding success because they hunker down and embrace their core strengths, recognizing that their greatest asset is that nobody else makes noise in the same way as they do.
That's the pleasure of Death Magnetic: hearing Metallica sound like Metallica again. Individual songs and, especially, Hetfield's lyrics -- less the confessional ballast of St. Anger, more a traditional blend of angst and terror -- are secondary to how the band sounds, how they spit, snarl, and surge, how they seem alive. Metallica isn't replicating moves they made in the '80s, they're reinvigorated by the spirit of their early years, adding shading they've learned in the '90s, whether it's the symphonic tension of "The Unforgiven III" or threading curdled blues licks through the thrash. Listening to the band play, it's hard not to thrill at Metallica's mastery of aggression and escalation. There is no denying that the band is older and settled, no longer fueled by the hunger and testosterone that made their '80s albums so gripping, but on Death Magnetic older doesn't mean less potent. Metallica is still vitally violent and on this terrific album -- a de facto comeback, even if they never really went away -- they're finally acting like they enjoy being a great rock band. ~ Stephen Thomas Erlewine, All Music Guide
more albums by this artist
See all-
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- Metallica
- Released 1991
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- ...And Justice For All
- Released 1988
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- Master Of Puppets
- Released 1986
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- Ride The Lightning
- Released 1984
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listener reviews
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It's about time
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- By AnusNorton
- 9/16/2009 00:01:32
- I've been waiting for this for many years. This album is GREAT!!
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Step Up
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- By EINAMA
- 9/12/2009 20:53:00
- I think Death Magnetic was better than there last album and i has some awsome songs if you don't have this album jet i sugest that you download it from zune or buy it at your local store. If your a guitar is i also say that you learn how to play Suicede & Redemption, The Day That Never Comes, The Judass Kiss, & My Appcalypse. Those songs are the "SHIT".
- 1 out of 1 people
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Underrated masterpiece (BB&S)
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- By Belecz1970
- 8/31/2009 18:03:42
- Broken, Beat & Scarred is (IMO) the best track Metallica has put out in many a long year. Hard driving, fast and brutal. This is the Metallica song I have been waiting to hear from the band since... Master of Puppets
- 1 out of 1 people
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Intro.
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- By Ryan1295
- 8/25/2009 03:40:13
- Anyone else heard the new intro for My Apocalypse? Its awsome. You can download it from the Metallica website, but you have to be a member.
- 0 out of 2 people
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simply amazing
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- By luca250hunter
- 8/20/2009 22:12:26
- what a great return to classic metallica. the quality isn't the greatest, but the songs are just amazing. metallica show that they still have it even thought people gave up after st.anger
- 1 out of 1 people
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It might be boring
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- By Mythless
- 8/13/2009 18:54:04
- it might be boring, but i want to see a band make an pulse pounding video for an 8 minute song
- 1 out of 2 people
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Check out the music vid. for04
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- By mithman1
- 8/4/2009 02:05:39
- If anyone has seen the vid. for The Day Taht Never Comes, I think that you will agree that it is just boring, true its patriot, but overall boring.
http://www.youtube.com/watch?v=5KAIJmxob-o - 0 out of 2 people
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Among their best work...
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- By MPenguin911
- 7/17/2009 11:53:41
- The album kick unbelievable amount of ass.
Each song has the complexity and lasting factor of any average ALBUM out there.
Hell, Unforgiven III alone is worth the price of the entire album. The rest are just extra value to an already masterpiece of a record. - 2 out of 3 people
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Metallica..
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- By ratedrko17
- 6/20/2009 05:50:06
- this is definetly a step up from St. Anger...I LOVE THIS ALBUM!! i have been a fan of metallica's since i was 6..i gotta say i love everything they have done..(yes St. Anger also lol) but i give it a 9/10 great comeback album!
- 2 out of 2 people
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pretty badass
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- By starewals4531
- 5/18/2009 22:52:07
- This album is badass shit man, i fucking love it. its so damn amazing, i love how they went back to the trash sound, but James voice could make some tweek, i really enjoy it, sorry for the short review, but i gotta eat.
- 6 out of 8 people
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- 1 - 10 / 59
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