It's starting to grow on me actually i'm starting to like it, easily best stuff since 'Black Album'

saw it live last night :smoke:

Reminds me of the ...And Justice For All stuff! Loving this and they blew me away live too! :o

 

Ok, it's what i wanted to hear from them, but also it isn't at the same time.... if that makes sense.

As a couple of you know i'm a big fan of thrash metal, so this song being fast should make me overcome with joy right? WRONG! The tempo is good, but there is something about the production that makes it sound abit bland. Don't get me wrong, i do like it, just out of the thrash veterans that are releasing albums right now there are bands doing better. Slayer of course always have sounded fresh and the 2006 album 'Christ Illusion' is a great example. Other examples are Testament and Death Angel, who came around in the wake of Metallica but to me at this time sound so much better.

 

Testament - More Then Meets The Eye

 

Death Angel - Dethroned

 

Slayer - Jihad

I've just remembered what the verses remind me off, some RHCP ballad/slow rock track.

another track started streaming....

 

'Cyanide'

 

 

by the way this is the studio version (live versions have been available before)

 

30 second previews of all songs:

 

Metallica play intimate London show next week

 

Metallica will play an intimate performance exclusively for BBC Radio 1 next week (September 14).

 

The metal legends, who are enjoying a new wave of popularity ahead of ninth album 'Death Magnetic', play the BBC Radio Theatre a week on Sunday.

 

The show will be broadcast on BBC Radio 1 the following day (Monday September 15) at 9pm (BST).

 

Tickets will be given away randomly to fans who apply through the BBC Radio 1 website.

 

Metallica made a new song, 'Cyanide', available to download today (September 2). The band are set to release a new album, 'Death Magnetic', on September 12, two days before the show.

 

source: NME.com

review from Rolling Stone:

 

In the eighties, thrash metal wasn't a scene, it was an arms race: riffs kept speeding up, drum kits got bigger. But with 1991's Black Album, Metallica opted for unilateral disarmament, slowing their tempos, shortening their songs and smelting their chugging guitars and piston-powered drums into armor-plated pop hooks. After that, the band rushed from one reinvention to another, starting with the Southern-rock infusion of 1996's Load and culminating in the muddled, bizarrely produced group-therapy session of 2003's St. Anger. No longer: Death Magnetic is the musical equivalent of Russia's invasion of Georgia — a sudden act of aggression from a sleeping giant.

 

Just as U2 re-embraced their essential U2-ness post-Pop, this album is Metallica becoming Metallica again — specifically, the epic, speed-obsessed version from the band's template-setting trilogy of mid-Eighties albums: Master of Puppets, Ride the Lightning and, especially, the progged-out ...And Justice for All. That much is clear from the 90-second mark of Death Magnetic's first track, "That Was Just Your Life," where the band unleashes a barrage of James Hetfield's dutta-duh-duhnt riffing and Lars Ulrich's octuple-time double-bass-and-snare smashing. That long-vanished sound, as essential to Metallica as variations on the "Start Me Up" riff are to the Stones, is all over the album —you wonder how these fortysomething dudes are going to handle playing it live night after night. (Enter chiropractor.)

 

Death Magnetic marks the group's split with producer Bob Rock, who helmed every Metallica album from 1991 to 2004 and pushed them toward concision and immediacy — until St. Anger, when he seemed to throw up his hands altogether. (As the 2004 documentary Some Kind of Monster demonstrates, Rock deserved credit for getting any music at all out of a band determined to self-destruct.) New producer Rick Rubin shoves Metallica in the opposite direction: Half of Death Magnetic's tracks are over seven minutes long, with song structures that are not so much "verse/chorus/verse" as "long intro/heavy jam/verse/even heavier jam/chorus/bridge/wild solo/outro."

 

This feels like the right move for an era where Guitar Hero is the new rock radio. (Appropriately, the full album will be downloadable for GH play.) And it's not as if Top 40 stations were going to slip in Metallica between Chris Brown and the Jonas Brothers, anyway. These songs rarely feel too long: At their best, they combine the melodic smarts of Metallica's mature work with the fully armed-and-operational battle power of their early days. "The End of the Line" is a freight-train rocker with a ricocheting riff and lyrics about a doomed, drug-addicted star. It builds to a frantic guitar duel between Kirk Hammett and Hetfield, a wah-wah-crazed solo and, finally, a bridge that feels like an entirely new song. And the spectacular "All Nightmare Long" — a thematic sequel of sorts to "Enter Sandman" — combines relentless Master of Puppets guitars with a Black Album-worthy chorus.

 

St. Anger was a misguided attempt to recapture the band's mojo by sounding "raw" — but Death Magnetic manages to sound huge, polished and tough. The musicianship feels thrillingly live throughout, and nimble new bassist Robert Trujillo helps, even though he's mostly heard as a distant, ominous rumble. (Has there ever been a more bass-averse band in rock?)

 

There's supposed to be a lyrical theme here — something about death — but it's hard to discern. After expanding his lyrical palette on previous albums, Hetfield is now so determined to re-metallize that he pushes toward self-parody: "Venom of a life insane/Bites into your fragile vein," he barks on "The Judas Kiss." The "One"-style half-ballad, half-thrasher "The Day That Never Comes" appears to be yet another tale from Hetfield's rough childhood, complete with the awful pun "son shine."

 

But if you ignore the lyrics, Death Magnetic sounds more like it's about coming back to life. Everything comes together on the fan-favorite-to-be "Broken, Beat and Scarred," which manages to channel the full force of Metallica behind a positive message: "What don't kill ya make ya more strong," Hetfield sings, with enough power to make the cliché feel fresh. The aphorism he paraphrases happens to come from Nietzsche's Twilight of the Idols, which is subtitled How to Philosophize With a Hammer. Metallica's philosophizing may get shaky — but long may that hammer strike.

 

4 stars.

 

looking good :)

'The Day That Never Comes' Offical Video:

 

 

 

[And also the album has leaked]

Album leak welcomed by Metallica

 

The drummer of rock band Metallica has welcomed an internet leak of their new album, ahead of its release next week.

 

Speaking on San Francisco radio station Live 105, Lars Ulrich said: "If this thing leaks all over the world today or tomorrow, happy days."

 

"It's 2008 and it's part of how it is these days," the musician added.

 

Death Magnetic, officially released around the world on 12 September, was posted on the internet after reportedly being sold in a French shop.

 

Legal action

 

The band, who were honoured at the Kerrang! awards in London last month, made one of the album's tracks, Cyanide, available for download recently.

 

They have also announced details of an intimate gig due to take place in London on 14 September.

 

Ulrich appeared on the US radio station to give a sneak preview of the album.

 

In 2003, Metallica decided to allow fans to download their music via the internet, three years after taking legal action to prevent digital access to their material.

 

The band chose to make their entire back catalogue available for download in 2006 - after finally relenting on a refusal to allow their music to be carried by iTunes.

 

They are due to play London's O2 Arena on 15 September, and will subsequently embark on an extensive North American tour, ending in January.

 

from BBC.co.uk

Good call on that Death Angel album Chris.

 

Not so sure about the Slayer and Testament albums.

Good call on that Death Angel album Chris.

 

Not so sure about the Slayer and Testament albums.

 

that was Jon not me. :lol:

OOps! :o :blush:

 

Anyway Death Angel is a really good album. Listened to it in the car yesterday.

Metallica admit 'we're bad at 'Guitar Hero''

 

Metallica have admitted to being bad at playing Guitar Hero.

 

The metal titans' new album 'Death Magnetic' will be the first to be released simultaneously on normal formats and on the hit computer game this Friday (September 12).

 

The band have revealed they've struggled to get to grips with the plastic guitar-based game, however.

 

"We're all bad," bassist Rob Trujillo told the Metro. "It's a different animal playing that game."

 

'Death Magnetic' was leaked online last week after allegedly being sold before its release date in a French record shop.

from NME.com.

 

 

BBC Review

 

It begins with a heartbeat...it could very well be the heartbeat of your average Metallica fan, scared to death, not by the spooky coffin made of iron filings on the cover (see what they did there?) but by the thought that this supposed 'return to form' by the world's once-greatest thrash metal merchants will be lame. Well worry not. After the solo-free St Anger way back in 2003 this is, well, most outstanding.

 

Never let it be said that Metallica aren't a band of the people, just not the people who file share their back catalogue. You can imagine Death Magnetic blasting out of some tank's soundsystem in the middle east. The closest thing to a ballad is single, The Day That Never Comes, though after a few minutes it descends back into the abyss of raw power. And the only low point comes with the penultimate instrumental, Suicide And Redemption which meanders and has a 'sensitive' solo line at its core that's at odds with the brutality on offer elsewhere.

 

James Hetfield's lyrics now seem to have become the channel of his post-therapy angst. More cyphers than actual narratives, they come from direct from the big book of heavy metal words. Take this example from The End Of The Line, "Need..more and more/Tainted misery/Bleed...battlescars/Chemical affinity/Reign...legacy/Innocence corrode/Stain...rot away/Catatonic overload/Choke...asphyxia/Snuff reality/Scorch...kill the light/Incinerate celebrity/Reaper... butchery/Karma amputee". You get the idea.

 

But words aren't the major force at work here. It's the irresistible maelstrom of guitars. Kirk Hammett's back to shredding triplets or chiming with James Hetfield in Thin Lizzy-esque duels. Balancing vertiginous prog time shifts with chugging power chords, it's amazing how raw and hungry producer Rick Rubin (himself, a thrash connoiseur with Slayer and Wolfsbane albums under his belt) has made the band sound. His greatest contribution is in bringing out the crunch in 'new' boy. Robert Trujillo's bass. On Cyanide he's unstoppable. And of course, leading the changes is the mighty Lars Ulrich. Possibly the single most erudite expression of metal's paradoxical mix of intelligence matched with dumb, awesome power. If there's a nagging sensation that the drums sound weird, it's because they're REAL. Say what you will about their psychodramas or political leanings, but this is a band that really can play.

 

Death Magnetic is the sound of a band giving both themselves and their fans exactly what they need.

Hmmm it's pretty good, abit long at 74 odd minutes and James voice doesn't suit some of the lyrics but the right feeling is there.

It is a impressive album which is what they needed after 'St Anger' they have shown they are still a great band.

NME review

 

When exactly did Metallica stop being a metal band for metal fans and become one of the hugest groups ever to stalk the planet? Was it in 1991, when ‘Enter Sandman’ built upon ‘One’’s groundwork and turned the biggest heavy band in the world into a radio/MTV-palatable proposition? Or in 2004, when the world saw the relationship between its creative fulcrum disintegrate in Some Kind Of Monster as drummer Lars Ulrich screamed “Fuuuuuuck!” in James Hetfield’s face while he was still fresh out of rehab? No, it was in 1986 when they wrote ‘Master Of Puppets’ – it just took the world two decades to catch up.

 

And now, after the misfiring ‘St Anger’, hopes have never been higher. Rob Trujillo is no longer a hired gun(indeed, his bass groove gives the album a pleasingly headbang-consistent rhythm), Rick Rubin’s behind the desk and their recent festival shows have seen an invigorated band with a rekindled love for their own music. And it shows: ‘That Was Just Your Life’ and the phenomenal ‘All Nightmare Long’ are ecstatic explosions of frenzied riffs and insane tempo changes that feel like they’re back in the practice room and daring themselves to push the boundaries of a genre they defined all those years ago.

 

Hetfield’s bark of “We hunt you down without mercy” on the latter and Kirk Hammett’s acidic solos on ‘The End Of The Line’ and ‘My Apocalypse’ burn with a young band’s hunger, not that of four guys with a combined age of 177, while ‘Suicide & Redemption’ shows their boyish enthusiasm for simply making people rock out. And ‘The Unforgiven III’ – the nearest thing to a ballad here, but still hewn from granite slabs with an orchestral intro that would’ve been suicide in the hands of a lesser producer – is the future soundtrack to a million raised lighters. ‘Broken, Beat & Scarred’, conversely, rumbles like a slumbering leviathan, full of nervous energy that threatens to boil over at any second.

 

It’s not perfect: ‘The Judas Kiss’ is knee-deep in sludge and could fit snugly on ‘Load’, while parts of ‘The Day That Never Comes’ and ‘Cyanide’ feel, to use Ulrich’s favourite term, slightly “stock”. But with 10 tracks lasting over 75 minutes it’s clear Metallica felt they had a point to prove. And prove it they have: ‘Death Magnetic’ is invigorating, dynamic and truly exciting. Not only does it banish the memory of ‘St Anger’ but it’s easily their best work in 17 years.

 

Ben Patashnik

8 out of 10

The boys are on form. No trying to conform to current trends and rocking out riff after riff. I seriously went off them during their load fiasco.

 

Apart from the $h!t name. Dig it!!!

The boys are on form. No trying to conform to current trends and rocking out riff after riff. I seriously went off them during their load fiasco.

 

Apart from the $h!t name. Dig it!!!

 

agreed, Load to st anger was a bad time for them :(

 

but they are back on form now.