Warner Bros. Records - 2008
8/10
Remember that thing about the discourse around Metallica always being on whether or not they made a thrash metal record or not since the classic run? If there is one that we can say achieves this in full form, being completely honest with ourselves, this is it. Make no mistake, it’s sheerly a coincidence that this is the only record by the Bay Area veterans that holds that title while also being the only one I would call great; very little of this review is going to be about its thrashiness. Why? Because at the end of the day, what matters is the songwriting, and this is their only disc since Load that I only have minor complaints about and no others. Continuing the trend of releasing albums beyond the hour length, Death Magnetic is, in my eyes, the truest realization of something that could sequentially follow And Justice For All in complexity, style, hookiness, and attitude. The only real difference is that by 2008, the music was divorced from the angry youth sensations that their early efforts had. That, and the musicianship doesn’t quite lean into the more technical chops that boosted the 1988 masterpiece.
However, the repetition factor is still utilized wonderfully, and only really oversteps its welcome here and there. Many of the tracks take on the repetitive riff style due to the sheer fact that they’re super catchy and lay explosive groundwork to build superior songs off of. I would argue that “Broken, Beat & Scarred” uses rhythmic fills better than just about any song James and co. did prior, particularly with those rigorous jumps between Kirk’s fret-happy, screaming lead guitar bursts in the solo. A few spots do over do this, such as the obligatory instrumental “Suicide & Redepmtion,” one that would have been just fine cut in half, as well as “The End Of The Line.” Even that one is still structurally sound, but little effect was added from its repetitive nature.
On the other hand, suspense is pulled off in a masterful fashion, staying away from repetition; the combination of both approaches truly aided this album significantly. Opener “That Was Just Your Life” is a shining example, slowly introducing guitar passages over the beat of a heart. Moreover, the speed, clarity, and poetic flow of the vocals in the meat of the song make this one magnificent. The pre-chorus and chorus sync up like none other, and I really can’t think of a better way to open the album. To the opposite end, “The Unforgiven III” blows both of its predecessors out of the water (hot take, I know), laying down a mournful yet compelling piano lick that introduces suspense by gently placing clean guitars atop, under the same scope. And of course, we really can’t not mention “All Nightmare Long,” the bass heavy rager that shatters its security glass early on by jumping from steady rhythms into ballistic thrash driving. Like the record opener, the poetic flow on this one is ferocious and concise.
All that really leaves is the more straightforward tunes that didn’t deviate far from the thrash formula, but are boosted by loud production and refined energy. “Cyanide” is basically a classic at this point, known for its swift chorus repeated just the right amount of times. “The Judas Kiss” is like its inversion that lives on the same nutrients but channels them into angrier emotions, rather than unsettled ones; the same can be said about the closer “My Apocalypse” with its shorter runtime to send us off. If any song could have been cut, it’s “The Day That Never Comes,” only because there’s nothing on it that wasn’t achieved better in “The Unforgiven III.” The main riff feels like a “Fade To Back” rewrite, but I can’t pretend that I don’t hum this one as well, and its presence doesn’t take anything away.
Essentially, the only issue with Death Magnetic is that a few songs could have had some fat trimmed off for a sharper finished product. Had that happened, I’d likely place this alongside the ‘80s records in quality. Otherwise, it far surpasses anything Metallica has done in the last twenty-five years. The songwriting is memorable, explosive, emotional, and heavy. The loud production is not only clear, but boosts the refreshed energy that washes over the listener after five years of St. Anger being the latest. If nothing else, it’s one of the most fun Metallica efforts to talk about, and I’d be thrilled if they just put something this good out again.
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