Metallica
Death Magnetic

THE REVIEW

"Do you listen to Metallica?", the irritating phrase repeated thousands of times by those ignoramuses who judge Heavy metal as "senseless noise". Metallica have now become, therefore, an object of advertising, thanks to songs of questionable importance (Enter Sandman, Sad but True, Fuel, I Disappear, but especially Nothing Else Matters) that have made them, in terms of popularity, what they are today.

Many consider Master of Puppets as the album that launched them to success, and thanks to which they are now known as one of the best metal bands. Let's say that those who think this are mostly kids raised with pop group music or penny critics who believe they are "The mouth of truth of Heavy Metal". In reality, what increased the popularity of the Four Horsemen was undoubtedly their famous yet mediocre "Metallica" (released in 1991). Many were then disappointed by Load and Reload, claiming they were an unexpected surprise, given the "thrash" component of "Metallica" (a criticizable thing). Silence fell over the Los Angeles-based band until 2003, when they released the much-criticized "St.Anger". For once, all Metallica fans had a common idea: Metallica had become washed up. I can only agree with this opinion, given that Metallica's artistic vein seemed to have been amputated from their repertoire.

Now, after this explanation, I would like to introduce what actually needs to be talked about, and quite a bit. In August, the news came: New Metallica album in September. As expected, many lovers of piracy downloaded fake albums almost immediately, believing they owned the original and going around saying that Metallica had had a golden age and had written a fantastic album, not knowing the trick they had fallen for. Well now, let's cut the frills and talk about this new album, which you're probably already bored of. Well, what can I say, many surprises (not always positive) and many interesting points. Hammett, before the LP's release, had declared that he had drawn on a classic repertoire equal to that of the 1983-1987 period (it seems obligatory to NOT include the mediocre ...And justice for all), a statement parroted by many fake metalheads who judged Metallica mediocre and Slayer of the 2000s fantastic. In fact, this 80s component can be (although quite distantly) taken as a truth and it shows how true music critics are now dead and buried. Despite this, the album suffers from influences from other genres. It would be impossible to label this record as an album similar to Master of Puppets or Ride the Lightning, as these latter two were written as a "thrash metal experiment". Let me explain: to write them, Metallica did not draw on a repertoire that could already be defined as thrash metal, but rather they experimented with a union between NWOBHM and a Motorhead-style speed metal (with many Venom influences). Therefore, these albums created the "real" thrash metal. From that point many other genres originated, and all bands in the world, some more some less, were influenced by it. The era of Black and Death passed, there was a decline of primordial metal for a shift to industrial and the so-called "new metal". There was also the grunge and post-grunge movement and then ended up in the rawer and harder Metalcore. The 2000s were the decade in which all newborn bands incorporate elements of these genres into their sound. Therefore, it can be said that Metallica have assimilated Grunge or Metalcore components, but also Blues (those present in Load). And this influence is strongly present in Death Magnetic: it shows that a new golden age for Metallica is impossible. Let's move on to the tracklist;

"That was just your life": it's a real return to the old days: in Ride the Lightning, Master of puppets, ...And justice for all and Metallica, the first track began with a melodic and sappy riff, which ended in a thrash-style guitar outburst (even sleaze in Ride the lightning). And that is what happens in this song: a beginning with an acoustic guitar (even a bit grotesque) that ends with the classic hardness of Hetfield's guitar. A simple yet equally engaging riff, that gets the album listening started with a smile on your face. It certainly won't be a new Battery, but it leaves a sweet taste on the tongue.

"The end of the line": There's not much to say about this track: it is basically composed of an opening riff and a main one, and this gives a general sense of boredom (increased by an unsure Hammett)... the only glimpse of light is seen in a sudden melodic parenthesis that almost resembles that of the masterpiece To live is to Die.

"Broken Beat & Scarred": an ambiguous track, which at times almost incites headbanging, but at other times bores (quite a lot)... a very small Blues component can in any case be recognized by a good ear, and this proves how Metallica have not yet come out of the abyss of 1996.

"The day that never comes": now we have fun. Total nothingness mixed in commercialization, all in a pot called Single. Ah yes, the quartet chose just the right song to extract. I bet it will be really popular with the kids and MTV. A disaster...

"All nightmare long": finally! For the only time since 1986, I am proud of these musicians. This is the song that shows how Metallica, especially Hetfield, can still give a lot. The problem is they're too busy hosting MTV and recovering from alcoholism. A western beginning celebrates this "epic of post-2000 metal". The rhythm guitar is really a force: incredible speeds and a more than valid solo from a Kirk Hammett until now left in the shadows, make this song a turning point in the sound of the Four Horsemen.

"Cynaide": it's one of those many blues metal ditties full of stops and syncopated themes...

"The Unforgiven III": a track made with only the aim of attracting attention, being the third chapter of a "series" of songs (actually, they are 3 arrangements of the same song). Despite this, it is pleasant to listen to and, among other things, it is the first song in which Metallica uses the keyboard.

"The Judas Kiss": can be defined as a Reload song (watch out folks, this album is very different from Load) sped up to Speed Metal tempos. It leaves a certain sense of disappointment, but listening to it over and over, it is actually a good song, worthy of giving merit to Death Magnetic.

"Suicide & Redemption": an interesting title is a disappointing song. Oh yes, this is truly Nu Metal. A riff repeated and repeated to nausea, with some harmonic riff thrown in. No frills: it's a useless song.

"My Apocalypse": finally a more than interesting song: a fast riff reinforced by a power beat (really well done) of an already aged Lars Ulrich, a high and raw Hetfield singing, to then conclude with a splendid performance from Hammett, who manages to incorporate funk, blues and thrash metal in one solo. 

Now, do not misunderstand my criticisms of some songs, also because if they had released Death Magnetic in 2003, I would have been much more satisfied with the horsemen, who would have managed to bypass Load and Reload without a transition album (which is St.Anger). Further credit goes undoubtedly to Rick Rubin, who supported the Los Angeles quartet like a fifth member (this time positive, unlike the sell-out Bob Rock). I would say this is enough... it's definitely an album worth listening to.