Album – Death Magnetic
The 9th in the list of musical marvels from this hard core thrash band, Death Magnetic is probably as good as Black but still is one of their best. This album is quite different from its predecessor St.Anger, which had no solos. With Death Magnetic, Metallica have gone back to their thrash roots and the album has its fair share of brilliant solos.
If you’ve been missing the Metallica of the past, this is the place for you to be. The album has quite a few musical delights; with highlights like the instrumental Suicide & redemption, and the much hyped Unforgiven III, and The day that never comes.
|That was just your life|
|The end of the line|
|Broken, Beat & Scarred|
|The Day That Never Comes|
|All Nightmare Long|
|The Unforgiven III|
|The Judas Kiss|
|Suicide & Redemption|
That was just your life –
The opening song starts off with a slow sounding intro followed by a majestic riff. Debutant Robert Trujillo makes his mark with the bass and Hetfield has taken his vocals to a new level. I thought those days of hard core thrash Metallica were long gone; but I was only to become the fool. The song is a tribute to the Metallica of the past.
The end of the line –
A truly splendid opening riff (yes they played it when they performed in 2006 but it definitely sounds better as an intro) makes it quite obvious that these boys mean business when they play their instruments. Another song that shows the powerhouse that is called Metallica. There are reasons as to why Kirk Hammett is one of the best out there; and this shows you just why.
Broken, Beat & Scarred –
Yet another simple but heavy riff. I get back into those days of Black when I listen to it. Quality head banging stuff I must say. Lars Ulrich’s drums are louder than ever and he definitely takes you back to the past with his thunderous beats. Hetfield is as commanding as ever with that voice of his.
The Day That Never Comes –
The song starts off more slowly and more clear than the others. When you have James Hetfield and Kirk Hammett on the guitars, you can’t but not expect an amazing intro to a song. Hetfield’s subtle notes and Hammet’s melodic leads paints a beautifully structured work of electric art (ok I don’t know if that made sense but yeah the song is just awesome.. Period).
All nightmare long –
Ever listened to a song which goes on just the guitars? Well this is a fine example. You’d better visit a psychiatrist if your head isn’t wobbling after the first riff. Hammett’s solo may go in a random order but it all falls into place perfectly.
The song sounds a bit different from the others in the album. It slows down a bit and the second half sounds a bit awkward. The song is held in the first half with a catchy verse and Hetfield’s voice is just too good to listen to. The way Lars’ drums rise up is simply mind-blowing.
The Unforgiven III –
Yes; I’ve come to the most awaited part of this review. Most people would say this song was given too much hype. I agree it wasn’t as good as The Unforgiven II. But they’ve done something new here and the experimentation has worked splendidly. Maybe had the song been under a different banner and had it not been given The Unforgiven tag, it would have been welcomed with more wide acclaim. The piano is a perfect start to the stream of melody that follows. Hetfield is truly the best out there. The lyrics “how can I be lost when I got nowhere to go” shows the perfect example of a genius at work here. The way “forgive me.. forgive me not” builds up to the Hammett heroics just makes my day.
The Judas Kiss –
This one is a potential roller coaster ride. Only this roller coaster is gonna keep going up and stays there. Hetfield tries his hand at a few riffs before kicking into full throttle. The way Hetfield changes speed on the verses is impressive.
Suicide & Redemption –
One of the best instrumentals I’d say. The 2 core riffs are more than capable in holding the song. Robert Trujillo’s bass is simply superb. You can clearly see the difference in quality between other rhythm players and Hetfield. The other guys just play chords and that’s it. Hetfield on the other hand introduces notes into those chords and makes it all fit so perfectly well you don’t know the difference. His arpeggios fall in place perfectly and I must say a stunning performance.
My Apocalypse –
I’d have to say the album ends perfectly with this song. Robert Trujillo’s bass and Lars Ulrich’s beats fall in perfect sync with Hetfield’s majestic roar. Again they go out in the old-fashioned Metallica thrash style.
On a whole, it’s an album beyond doubt worth keeping in your collection.