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Welcome to Dissected, where we dismount a group's catalog, a director's filmography or another critical collection of abstract pop culture. This is the exact science thanks to a few beers. This time, we follow the roller coaster of Metallica. Kill them all at Wired … to self destruct.
Metaphors alone do not do justice to Metallica's career path, mainly because there are many that could be applied to their unusual trajectory: treacherous oceanic journey, marathon, following Billy's "Family Circus" on one of his dotted lines adventures.
In the early eighties, Metallica managed to stand out from the underground scene, gaining the respect and admiration of her peers and fans for her impressive talent and uncompromising vision of the traditional ways of promoting music. They survived the death of their beloved bbadist, Cliff Burton, as well as the arrival and acrimonious departure of his replacement, Jason Newsted, who had some incredible successes.
They became a kind of hit line at the time when they faced Napster and decided to let a film crew record their album / group therapy sessions in A kind of monster. And since then, they've been slowly shattered, reaching a level of glory that even the most off-putting metalheads must respect. The fact that they managed to survive so long after seeing one of their best friends die, nicknamed "Alternica" for apparently abandoning their thrash roots, and recording an almost universally revolted album with Lou Reed is something that deserves a certain admiration.
What has never been discussed is the work that Metallica has put into all the songs he has recorded. That's a breathtaking revival of a Diamond Head clbadic or an original song full of challenges that skillfully jumps between the time signatures they have on the farm willingness to produce it as well as possible. Whether it's sometimes an instant clbadic like "Creeping Death" or an unfortunate belly flop like "St." Anger "is just the dull truth about creativity." In the end, larger groups may fail despite their many successes.
Overall, the scales are in favor of Metallica. Even throwing away a lot of the work they did during this difficult interim period Charge, recharge, and St. Anger, Leave the world still with one of the most inventive and respected heavy music catalogs ever created.
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ten. recharge (1997)
Fight the aggression, turn into obsession (badysis): Metallica had all the weight, goodwill and money to burn after the unprecedented success of her 1991 self-titled album (aka "The Black Album"). They reacted as all the headbangers feared: they squandered it. The quartet hit The Plant Studios in Sausalito, California, with great ambitions to release a double album. When they could not finish all the songs in time, they separated the material by releasing Charge in 1996 and recharge a year later and justifying the decision as best as possible. ( '[If] we did a double album, it would have been a lot more material to digest, and some of it could have been lost in the reshuffle, "said Hammett World of the guitar in 1997.)
What they could not justify is how they sounded sealed and lost. recharge. The thrash was now completely removed, replaced by grunge-inspired tempos and atmospheres that hung from band members like an ill-fitting suit. And all too often, Metallica seemed to have run out of ideas and switched to recycling. They were not laid back on that either. They wrote a sequel to their hit "The Unforgiven" of the Top 40 without the nerve and the grain. "Devil's Dance" and "Better Than You" seemed to hit the same path as "Sad But True" with a hint of Black Sabbath psychological injury around the core with mediocre results. Even "Enter Sandman" is upset with a little bit of mind in the ridiculous "Slither" ("Hey, tie your shoes on.").
The worst offense was to muzzle Hammett. All along rechargehe is reduced to the role of rhythm guitarist better than average. The air he finds to fly away quickly is engulfed by the black fog of ink in which his group mates were. One might wonder if letting him go could have saved this album, but thrusting it into the collective pocket of the band is always unforgivable.
Gimme Fuel, Gimme Fire (Best Song): Metallica rarely becomes self-reflective, which instantly differentiates "The Memory Remains" from the pack. This discreet mid-tempo tune comments on the gritty side of their success by offering small threads, such as a lyrical reference to "Fade To Black," which keeps them connected to their past glory. They also let the British goddess Marianne Faithfull infiltrate as an angel of mercy to offer a small, wordless bridge voice that runs through the darkness.
What should not be (the worst song): To illustrate how much Metallica was feeling puffy at the moment, look no further than "Low Man's Lyric," an old-fashioned ballad that lasts seven and a half minutes and ends the most wacky vocal performance of James Hetfield.
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09. St. Anger (2003)
Fight the aggression, turn into obsession (badysis): The post-Jason Newsted album. The album "Phil Towle, group therapy". The album "I would say: delete that … for me, it does not cut". The album "Lars Ulrich seems to play the drums in an old oil barrel while wearing thick gloves." The album "madly angry with you". The non-guitar solo album. "Bob Rock burning the last remnants of goodwill he had accumulated with Metallica through a recording process that seemed unbelievably long and a mixing / editing process that propelled his resounding bbad parts into the spotlight and left all the seams visible. The album "frantic-tick-tick-tick-tick-tock". The album "I'm more important than Metallica".
This is Metallica to his nadir. A once powerful force reduced to a herd of bickering, caused by Newsted's departure and the confusion surrounding their position in a rock scene that was still shaking post-grunge fallout and the rise of nü-metal. The desire to create new music was there, but he was upset by internal tensions, Hetfield's addiction struggles and a strange decision to tell Hammett to forget the solo this time.
St. Anger slips into a place better than recharge on this list because under the ugly work of Rock production, there are sparks of Metallica that once reigned. Increase the tempo of "My World" and "Dirty Window" to bring out thrash hymns. And when they go for some of the old ultrametal-violence on "Sweet Amber", it's easier to endure Hammett's absence of a shrieking solo. Despite all their efforts, Metallica can not fight their instinct.
Gimme Fuel, Gimme Fire (Best Song): Metallica and Rock find something close to parity in "Purify", a hot tune of last album. The rhythm of the song is a bit sarcastic, as if the constant fall in which the group settled was maintained by a pure force of will. They arrive at the end in one piece, with the thrilling feeling of rock bbad growing justified. All of this works in the service of a truly inspired lyrical and vocal turn of Hetfield that expresses torture and relief on his way to sobriety.
What should not be (the worst song): It's not just half-murdered lyrics and laughable vocal intrusions ("You empty it, you empty it") that destroy the title of this album. If you listen carefully, you can catch the effort that Rock and co. put in that to save the song of different sessions. The copious editions almost never connect seamlessly, which gives the impression of a failed ProTools experiment or a mixing session being pressed so that the group can meet a certain time frame.
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08. Charge (1996)
Fight the aggression, turn into obsession (badysis): After "The Black Album" pushed them into a new slice of taxation, Metallica received a blank check from Elektra Records at the start of their work on what would become their sixth and seventh studio albums. All the discs they had published so far were better sold than the previous ones. Why not just keep climbing?!? It's this kind of pride that gives albums like Charge, a nearly 80-minute CD with indulgences such as odes to Southern Rock, a lost blues rock, a penetrating rewrite of 'Enter Sandman', and misjudgments that only the most exaggerated ego and bank accounts permit.
The bitter truth is that there is a vicious and tense album that could be modeled from the pieces of recharge. Metallica had spent all her life absorbing the riffs and rhythms of others and creating their own. Lightning must have hit. Surrounded as they are by the overwhelming mediocrity of the ballad of power "Bleeding Me" and the pathless wager "until it sleeps" are the blaring flashes of songs like "Cure" and "The House Jack Built "that manage to find a comfortable place for the band in the paradigm shift of grunge while also leaving a space for shades and small pieces of sweetness among the white stone riffs and the thickening roar of Hetfield.
Gimme Fuel, Gimme Fire (Best Song): We have to dig a long way to find the true gem buried in the heart of Charge. Until the end of the album, in fact. Metallica kept her best moment for the end with "The Outlaw Torn", a rumination about death and how we fill the hole left by a loved one with other people or lawsuits, the song could have been a guiding force for the band to follow what with his subtle mood changes, his prominent bbad timbre, and a Hetfield performance that proved that he could be less muscular with his voice without her seems weak. The acid rock guitar solos of the last minutes and the triumphant return of the rock form at the end contribute to the success of the landing.
What should not be (the worst song): "Until It Sleeps" behaves like the negative photo of "The Outlaw Torn". Hetfield tries a poorly adjusted croon. Ulrich stammers through his drums. And the whole group applies a "calm / strong / calm / strong" approach that says, "We'll beat these Nirvana punks to their own game."
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07. Wired … to self-destruct (2016)
Fight the aggression, turn into obsession (badysis): The last Metallica album could be considered a kind of capitulation to their legions of fans. A thanks for staying with the group after the diversions like Lulu Lars Ulrich's acting career and failure hailed by the critics but at the box office, Through the never. Here is the thrash metal and the snarling anger you were hoping for. But two years and change after its release, Cable sounds more like a group that has collectively won its fierce battle with maturity. They increase the fury and the tempos because they could, not because Rick Rubin (who did not work on this album) insisted that this be the case.
In doing so, they found the ideal place where the blitzkrieg of their early days and the more temperate sound of their complex period could coexist safely. Everything worked better than any album since "The Black Album", the opening title of the whizbang heading right to the thrilling "Atlas, Rise!" And the slow simmering of "Now that we dead ". And that continued with the only necessary break to come when, if you bought a physical copy, you had to change a disk to a disc for two discs. The overall success of the album only forces the flaws. The lyrics all along have some kind of wood simplicity even when the feelings are solid. Similarly, Hammett, supposed to be forced to start from scratch after losing all his riff ideas when his phone is gone, can not seem to push his solos over their goals. When he hits the stratosphere, like cluster bombs, he falls on the path of "Murder One", the whole album rises with him.
Gimme Fuel, Gimme Fire (Best Song): The lyrics can be as subtle as a shin kick and this bbad drum sound is a bit too splashing, but the title track to Cable set the tone early. On this album, Metallica is not in the mood to go around. But considering the subject of the song – a look at the degradation of the environment in the world and finding no clear solutions – why chew words and why indulge with flashy intros and moments of calm. He strikes hard and quickly and without warning.
What should not be (the worst song): The only justification for the existence of "Am I Savage?", A slogan of six and a half minutes, is Kirk Hammett's cutting-edge, rambling guitar solo. The rest of the melody comes from lyrics and scores from the last 15 years of sludge and doom metal, trying to mix magical images with personal explorations of his failings as a parent and human. A valiant effort but a total boredom.
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06. Death Magnetic (2008)
Fight the aggression, turn into obsession (badysis): After absorbing bad reviews and comments from frustrated fans about St. Anger, and feeling the ironic laughter emerging from the wings on how they came across A kind of monster, Metallica were looking for a course correction with their next album. Let producer Rick Rubin provide the roadmap that led them to Death Magnetic. His methods of work – including, as Ulrich puts it Revolver in 2007, an insistence that each song that the band imported into the studio be "as close to 100% as we could get" – and his very attentive ear helped to sharpen the edges of the song. a series of songs that reaffirmed their place among the biggest thrash metal bands in the world.
For the most part, they managed to achieve this noble goal. Death Magnetic bbadist Robert Trujilo's first round in a complete effort with Metallica (Bob Rock was playing bbad on St. Anger), and the music was bold and brutal, with a welcome complexity that gave the impression that the length and breadth of the songs were quite justified. To arrive at the moment of the collective explosion that ends the album, it is necessary that they go through all the difficult and fast moments of the fast "My Apocalypse". The "Broken, Beat & Scarred" badroach movement is well replaced by the splashing punk rhythm that bursts through the door towards the four-minute mark. They even make fun of their fans, opening "All Nightmare Long" with a sullen gallop that is interrupted and knocked out by a shootout of descending riffs and palpitations. Metallica had not seemed so concentrated and intense for ages.
Gimme Fuel, Gimme Fire (Best Song): Death Magnetic starts with a statement of intent and rebadures everyone in their blast that things were going to be different this time around. While "It was only your life" moaned, Metallica takes flight with the terrifying beauty of a flying missile or a squadron of tanks emerging on a lush green hill. For the next six minutes, it was a total badault, made even more deadly by an extremely compressed sound that gave each note the appearance of a glow in the skin.
What should not be (the worst song): The world may have to undergo many other variants of "The Unforgiven" before the group breaks up or the planet is destroyed by a meteor the size of China. The chapter that landed on this album is the third ("The Unforgiven III"), and at this point, Metallica had pulled all the subtlety and tragedy of the first opus of "The Black Album". Power ballad as a moment of calm before the brutality of the last four tracks. Instead, it's the soundtrack of a million metal lovers heading for the bathroom and bar.
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