I’ve been a hardcore Metallica my entire life. While I was young when the self-titled Black Album was released, I was old enough to feel betrayed by the band’s new direction, shepherded by producer Bob Rock. It’s strange to reflect on my hatred of that album considering, in retrospect, it’s the last to actually feel like a Metallica album. All of these years later I have learned to respect it, and even worship it, acknowledging my massive mistake that cost me years of ear candy.
It’s hard to argue that the Black Album wasn’t a step in the right direction – it’s the best-selling metal album of all-time and catapulted them into worldwide stardom – but for whatever reason it was also the catalyst behind their 25-year-long identity crisis. Who is Metallica? What do they sound like? What do they stand for? The St. Anger documentary “Some Kind of Monster” was the tipping point, exposing Metallica for who they’ve become, and the title wasn’t too far from the truth. I don’t think they even knew who they were anymore…
Outside of my love of their early records, I find Metallica immensely interesting, especially when it comes to their story arc. It all started with the very public war between the band and ex-guitarist Dave Mustaine (who went on to create Megadeth). Mustaine is said to have invented the riffs that gave Metallica their sound, and is even credited on most of Kill ‘Em All and a lot of Ride the Lightning. In addition, Cliff Burton is alleged to have introduced all of the heavy influences ranging from classical and jazz, to southern rock, blues and country. Between Mustaine and Burton, Metallica invented their sound that propelled them to become metal gods by the time they finished touring Master of Puppets. With the death of Burton (mid-tour), the band added Jason Newsted, who was basically drowned out of the recording of …and Justice For All. The album would also take the band in a new direction, one that would leave the influences of both Burton and Mustaine behind. This is all important because it leads up to Bob Rock’s influence on the Black Album, and the stories behind the production. It all came to a head on the aforementioned documentary that proved, without a shadow of a doubt, that Rock had too much influence over the band, and even considered himself a member.
Between the long absences between albums and the behind-the-scenes drama and struggles, Metallica lost their identity. Without debating the actual quality of the albums, I find it hard to argue that Load, Reload, St. Anger, Garage Inc. and even Lulu (barf) have any sort of resemblance to a the Metallica we all grew up loving. They’re all the equivalent to bad side projects (some are!) that harbor a few sweet tunes that kept the band relevant. But then we heard Death Magnetic, and were tricked…yes, tricked into believing the Metallica of old had returned. While the album is entertaining, it’s forgettable, proving that Death Magnetic was nothing more than a Metallica cover band pretending to be the Metallica from 1988 (I dare you to listen to “My Apocalypse” and then “Dyers Eve”). This is so, so, so important because, while it lacks authenticity, it’s the prelude to something special.
This Friday, November 18th Metallica will release Hardwired… to Self-Destruct, their first “connective” album since the Black Album was released back in 1991. Sure, Death Magnetic was an attempt to return to their roots, but after 8 years it feels like the band is finally building off their previous release, instead of attempting something new or trying to reinvent themselves (again). Hardwired is a confident album, one without fear of what others will think, without fear of losing their fanbase, without fear of album sales. For the first time in 25 years Metallica is comfortable in their own skin and are delivering what they’ve been promising for my entire adult life.
[Related] Review: Metallica’s ‘Hardwired…To Self Destruct’ is a Celebration of Their Entire Career
The fuse is ignited with the opening track, “Hardwired” – a track Ulrich revealed was written “in one week.” It’s pure 1980’s thrash that does in fact feel like something off Kill ‘Em All, Metallica’s debut album. I tend to think that some of the best independet art is created without over-thinking it, and the opening track proves that Metallica could benefit by half-assing it a bit more often.
“Moth Into Flame”, the band’s second single, was the track that got me excited for the release. It is, without a shadow of doubt, the best song delivered by the band since the self-titled release in 1991. It’s also the first time these ears have heard something that sounded evolved, as if the band wasn’t trying to escape their previous albums, but instead celebrate them as part of their progression. The song shreds, has a wicked hook, and makes me want to drive fast or punch a wall. Metallica hasn’t got into my soul like this in forver…and it felt fucking amazing.
But I don’t want to oversell Hardwired… to Self-Destruct, which is by all means a hit or miss album (noting that this is most definitely a premature evaluation). Having listened to it a few times, and looking over the track breakdown, I can’t help but wonder if the second disc is more of their experimental product, or just b-sides. Even looking at the running time it makes absolutely no sense to break Hardwired into two, making me wonder if there’s an artistic reasoning for the split. Whatever the case, disc one is far superior to two, and already has me planning my own cut of the album that looks something like this:
1. Hardwired
2. Atlas, Rise!
3. Now That We’re Dead
4. Moth Into Flame
5. Dream No More
6. Confusion
7. Spit Out the Bone
8. Halo On Fire
(I removed the tracks “ManUNkind”, “Here Comes Revenge”, “Am I Savage?” and “Murder One”, and placed “Halo On Fire” at the tail end.)
Metallica has always had a knack for opening and closing an album, and Hardwired… to Self-Destruct is no different…only here they do it twice.
“Halo On Fire”, which completes the first disc, is an epic opus that vibes directly with Ride the Lightning and its own monstrous conclusion, “The Call of Ktulu”. Although not instrumental, the song builds to a rip-roaring finale that, if were the last song the band ever wrote, would be a send-off as perfect as Michael Jordan’s final shot (as a Bull). And even though I’m not in love with the second disc, the album ends with an explosion of fireworks, putting on display the hyper-fun and energetic “Spit Out the Bone”, which is easily being the heaviest song on Hardwired.
Hardwired… to Self-Destruct is far from perfect, but it’s the most authentic album since Metallica’s self-titled release. What’s so crazy about that statement is that this is the first album since Kill ‘Em All that guitarist Kirk Hammett has no writing credits (citing his lost phone as the reason), which is a real bummer. No matter, it’s clear that Lars Ulrich and James Hetfield are finally on the same page as Hardwired is not only coherent, but boisterously fun. After years and years of false promises and weird drama (even Death Magnet had audio issues), Metallica has finally delivered something that not only sounds great, but is also fueled by their love of metal. It truly and wholeheartedly is the album we’ve been waiting for since Load left many of us disappointed (it’s crazy to think how long it has taken, but I get goosebumps just thinking about what’s to come now that the band appears to have their heads on straight). While Hardwired may be Metallica finding their “center” and coming to peace with who they are, it’s also a love letter to all of their fans who have stuck by them through the good and bad. There will be no self-destructing this time around, only celebrating…and a whole lot of head-banging.
