Metallica is back with Death Magnetic

Rediscovering their thrash metal roots, Metallica is back with yet another potent cocktail of testosterone and angst. The complex multi-layered arrangements, the speed-obsessed drums and, the intricate guitar duels; Death Magnetic is what fans have been feverishly praying for.

The album can also be called Kirk Hammet’s revenge. Practically emasculated after accepting drummer Lars Ulrich’s decree that guitar solos were outdated and therefore unnecessary on St. Anger, the band’s heavily criticised previous album, Metallica’s lead guitarist dominates this album, playing with a frenzied passion unheard in years. His blinding solos jump out of the speaker like a spring; tightly coiled for the last decade.

The first track commences with a pounding heartbeat; the apprehensive pulse of millions of fans unsure of what to expect from the biggest metal band of our times. The Day That Never Comes, starts off as a mellow ballad but gradually metamorphosises into an all-out speed metal classic. All Nightmare Long, a thematic successor to Enter Sandman, combines a catchy chorus with grinding machine gun guitars; the ultimate headbanger’s dream. The neoclassical Unforgiven III, lives up to its acclaimed namesake’s popularity.
Wailing guitar solos and a stadium ready chorus on Judas Kiss rescue this otherwise mediocre song. Reverting to an old standing tradition, this album features an instrumental track, Suicide And Redemption.

Metallica is back with aggressive fast riffs, occasionally breaking ranks and tempo; all in the build up to Hammet’s solo. Hetfield’s invigorating vocal prowess makes even the seemingly trite lyrics sound fresh. As with all their previous bassists, Robert Trujillo is pushed into the background of this ‘bass averse’ band’s overall sound. With all the songs breaching the five-minute mark, their extended instrumental jams can get a little annoying.