Phoenixes are mysterious creatures. Legend has it that the mythical bird used to, at the end of its life time, consume itself in flames and take birth again from the very same ashes.
In many ways Metallica’s last few years mirror the life of a phoenix. After S&M it was as if nothing could go wrong. Seven studio albums, a live one, millions of records sold, stability in the band and a rapidly growing fan base – the phoenix was flying high in the sky.
Then came the first signs of the end. The rift between front-man Hetfield and bassist Newstead widened with the latter eventually quitting the band. Lars decided that he’d take the short-cut to being the most hated person in the music industry and got himself embroiled in a law suit against Napster – the free music sharing system thus alienating a huge number of fans. To top it all Hetfield’s drinking problem snowballed to such an extent that he had to join rehab thereby throwing the band’s future into darkness.
The all consuming fire then culminated with their next album – St.Anger. This album was Metallica’s marmite – you either hate it or you love it. But both consenters and dissenters agreed on one truth-Metallica had combusted to ashes in a blaze.
A new producer, a new bassist and a new mindset – the rebirth of the Metallica-Phoenix began. Every phoenix needs a song and Metallica’s was called Death Magnetic. It is only apt that they chose to sing about one of the few constants in everybody’s life – death and this forms the Sun in the Death Magnetic-Solar system with each song revolving around this central idea.
1. That Was Just Your Life begins with the new born phoenix’s heartbeat. Coiling around heart are clean guitar riffs followed slowly by the bass and Lars’ cymbals. Slowly setting into a new rhythm, Hetfield takes over, with his (new) aged but powerful voice, ably supported by Trujillo and Lars. As the trio slowly set into a fast and heavy chorus, Hammett drops in with his wah and trademark electric solo. The song starts gathering momentum and ends with an explosive finish.
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. The End of the Line is the second song of the album. Much more direct when compared to its predecessor, this song immediately sets into a basic fast-paced riff (Hetfield, Lars and Trujillo combining) which persists throughout the song. Hetfield enters early and in many ways it seems like an extension of the previous song. After about 4 minutes is where the song gains its identity. A fast solo and some furious drumming later the song comes down to a slow rhythm. At the end of which both Hetfield and Lars pick up the pace- as if competing with each other in a 100 m dash before the song finally ends with Hetfield screaming out the chorus line.
3.
Broken, Beat and Scarred is up next. The third and my favourite song of the album. The brilliance of this song lies in its pacing. It resembles a smooth sigmoid curve with the introduction representing a slow trench. As is a characteristic of the album, the basic riff is introduced here with Hetfield really twisting his fingers around the strings. And as the chorus begins, the song picks up pace with the chorus line representing the fast and loud peak. Around 4 minutes is where the song changes abruptly. A new riff, new drumming pattern and faster rhythms pave the way for Hammett to blow open the roofs with his solo and James following up with a new riff signalling the climax. At this point the chorus goes into a new dimension with interference of the trenches and peaks – almost like a microcosm of the entire song- to end on a high.
4.
Coming in at number four, The Day that Never Comes is a throwback to the old times - the song opens with a slow, melancholic tune by Hetfield with Lars joining in gradually. The song continues at an amiable pace until the 4 minute mark. This is the part where the song gets interesting- a gradual pick up in pace which contains the final vocals of the song. After 5 mins is where you actually see the resurrection of Metallica. What follows is a 2 and a half minute mesh of frenetic guitars, fast drumming, Hammett’s solos and not to mention Trujillo’s excellent bass.
5.
Mythology has it that the song of a phoenix is hauntingly beautiful. Coming to think of it, that is the best way to describe All Nightmare Long also. Metallica have always had a fascination towards H.P. Lovecraft as is evident from songs such as The Call of the Ktulhu and The Thing that Should Not Be. With James singing about macabre beasts and creatures from the darker parts of one’s imagination in his gnarling voice and twisting his fingers around a spine-tingling riff ably supported by the heavy bass of Trujillo and the ever-dependable Lars- this song basically screams of Lovecraft. Hammett uses his wah admirably in generating solos which leave one with the chills.
6.
Metallica are generally known for their vivid but abstract lyrics as can be heard in their popular songs of the 90s such as Ronnie , Until it sleeps etc. Coming in at 6, Cyanide continues the tradition. The relatively slower riffs and the considerably relaxed pace of this song are probably what will catch your attention initially, but the real stand-out quality about this song is the lyrics. With lines such as
“ Say, is that rain or are they tears?
That stained your concrete face for years..”
and
“An air of freshly broken ground
A concrete angel lit right down
Upon the grave which swallows fast ..”
which blend with the curvy and twisty rhythms. This song is an excellent vocal treat where the riffs fit like a dress on a particularly gifted woman catching every curve and turn on her body precisely and enhancing them.
At seven we have a sequel. This song drags us into one of Metallica’s fortes – human emotion and particularly - regret. If Unforgiven I was about an old man, Unforgiven II about a lost lover, Unforgiven III is about a sailor. The song describes the painful story of a sailor’s temptation, his weakness and his overwhelming guilt. Starting off with a piano sequence, moving into a clean guitar riff and then the gradually increasing guitar distortion the music seems to directly reflect on the various emotions of the sailor from ambition to temptation to regret.
8.
"To me, the thing that is worse than death is betrayal. You see, I could conceive death, but I could not conceive betrayal."
— Malcolm X
Transcendence is something which seems to fascinate Metallica. The Judas Kiss takes a slight break from the literal meaning of the album and dwells in the metaphorical shadow. This song seems to be made to celebrate the death of the small part of humanity during betrayal, to celebrate the death of trust, to celebrate the yin without which there would be no yang. The mood is quickly set by start-stop guitar plays which seem to collide, coalesce and amalgamate to finally give rise to an evil riff and chorus. Another key feature that does not escape notice is how much James’ voice has changed over the years. This song particularly accentuates the fact. Similar to the other songs Hammett’s wah embellished solos leave an indelible mark on the listeners.
9.
Number nine and a long lost memory returns. This is something we’re hearing after nearly a decade – a Metallica instrumental. Suicide and Redemption is part of a lineage which includes legendary songs such as Call of the Ktulhu, Orion etc. and just like its predecessors it doesn’t fail to disappoint. If the latter two start with clean guitar riffs, Suicide & Redemption starts with a heavy bass line and a lot of distortion for the nearly the first 4 mins. After that is when a clean guitar piece slips in followed by Hammett’s solos. However the stand-out for me in this song is Lars. If the guitars take you through the meandering path from suicide to redemption, it’s the drums which act as the compass. Alternating between slow and fast, complex to simple and throwing in some delightful double-beats too, this song is all Lars for me.
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Finally at 10, Metallica end the album on a high with My Apocalypse - a high fuelled by raw anger and undiluted energy . A riff that rushes past you at break-neck speed, drumming which is right on its tail, vivid and searing lyrics- these are what characterizes this song.
Overview :
‘Change your opinions, keep to your principles; change your leaves, keep intact your roots.’ Victor Hugo
That is exactly what Metallica have done - returned to their roots. They gained their identity with thrash metal and it is only right that they regain their identity with the same thrash. Yes, it is not the pristine thrash of the 80s but the same elements are there – fast riffs, Hammett’s solos, the instrumental , strong bass lines and the energetic drumming. If anything, it has evolved. An evolution which has strengthened the faith of the fans, regained the trust of old ones and bought the attention of the new fans. Metallica are back- and how.
Genre : Thrash Metal, Groove Metal
Track Listing :
All lyrics written by James Hetfield, all music composed by Hetfield, Lars Ulrich, Kirk Hammett, Robert Trujillo.
"That Was Just Your Life" – 7:08
"The End of the Line" – 7:53
"Broken, Beat & Scarred" – 6:25
"The Day That Never Comes" – 7:57
"All Nightmare Long" – 7:57
"Cyanide" – 6:40
"The Unforgiven III" – 7:47
"The Judas Kiss" – 8:03
"Suicide & Redemption" (Instrumental) – 10:00
"My Apocalypse" – 5:06
Total Album time :- 74:48
Total Album Time : 74:48
Personnel :
- James Hetfield – vocals, rhythm guitar, lead guitar
- Kirk Hammett – lead guitar, rhythm guitar, backing vocals
- Robert Trujillo – bass, backing vocals
- Lars Ulrich – drums
Additional musicians
- David Campbell - orchestration on "The Unforgiven III"
Release Date : September 12, 2008
Recorded : April 2007–May 2008 at Sound City Studios, Van Nuys, Los Angeles, California; Shangri La Studios, Malibu, California; HQ, San Rafael, California
Supporting Tour : World Magnetic Tour
Trivia :
