Metallica recovers from St. Anger with Death Magnetic

The new album doesn't follow in St. Anger's footsteps.

By Andrew Bach

Published Sept. 18, 2008

Metallica has had quite a rough history. Most recently, the band insulted its fans with St. Anger, an earache that never should have left the studio. Critics tore it apart and it has since become a punch line to top the previous running joke of the rock world, Guns N' Roses' not-yet-released Chinese Democracy.

Needless to say, Death Magnetic's predecessor has left the band's new release with the unnecessary scar of premature judgment. Some fans hope to see Metallica redeem itself, and haters want to see the group continue to suffer in the leftover criticism from its previous release. It doesn't matter which side you're on, but Death Magnetic will have heads turning in both parties.

With master producer Rick Rubin in the studio and the addition of Black Label Society bassist Robert Trujillo in the lineup, it would be more insane than ignorant to immediately write this album off as strike two for Metallica.

The addition of Trujillo to Death Magnetic is a transition excessively praised by frontman James Hetfield. But the music does not stress the change as much as Hetfield claims, as most of the bass riffs are embedded too deep in the tracks to accurately represent Trujillo's talent. The opening of "All Nightmare Long" is an exception to the album's usually inadequate bass, as the track starts with a distinguishable bass riff and moves into fast breakdowns Trujillo somehow manages to keep up with. "Cyanide," though not an album highlight, does have some catchy bass riffs. Aside from those tracks, the bass remains unimpressive through the majority of the album.

Hetfield's vocals have, predictably, aged along with the rest of the band, but the music has actually gone back in time. With a bit of thought, Metallica's adjusted sound could be compared to its classics Master of Puppets and Ride the Lightning - but not at first listen. And thankfully, it is just as difficult to compare it to St. Anger.

For those looking for a true '80s denim n' leather thrash comeback, keep looking. Metallica has adapted to today in style, production and especially lyrics, with Death Magnetic tackling today's political issues, such as the war in Iraq. The video for the first single, "The Day That Never Comes" features a soldier fighting in Iraq.

With the average song on the album pushing the 8-minute mark, there's more than enough room to fit in political statements, longer guitar solos and intro and outro breakdowns in nearly every song. Lars Ulrich's drums are relatively simple, contrasting the new song complexity that is helping Metallica's long-awaited comeback. Kirk Hammett and Hetfield's duel guitar work add the depth to the album that the drums cannot quite sink into.

The album is also the first of its kind to feature downloadable "Guitar Hero" tracks: If that doesn't win back old fans, or claim new ones, I don't know what will.