Review: Metallica – 72 Seasons

Review: Metallica – 72 Seasons
Review: Metallica – 72 Seasons

It would be hard to assimilate that there was a single person who has never heard a song from metallica. the acclaimed series stranger things He already took care of making those of San Francisco known. pop singer, Lucy Silvasmade his contribution with the classic Nothing Else Matters. Juanes started in music with a tribute band to metallica. , Miley Cyrus, Macy Gray, performing with the band that Moth into Flame from his previous album Hardwired…to Self-Destruct or the more than 50 artists of disparate styles that went through his tribute album to that homonymous album mostly known as black album. A band, whether you like their music or not, has every right to be recognized as a milestone in modern music.

Lars, James, Kirk and Robert, at the gates of their sixty-year-old springs, except for Hammett who has already entered the club of the sixties, they bring us their eleventh long duration that we already anticipated, spoilers alertThey have not come with anything new under their arms.

And here a doubt assailed me while I was listening and shelling the record. A band with a history of more than forty years, with emblematic albums that revolutionized music. Is it possible that they have been creatively burned? Could it be that we have already tasted the honeys of anthem makers like Master of Puppets, One, Enter Sandman, Battery, Creeping Death and a long etc.? But then one more thought struck me. And it is that already in the past, the band did to give a renewed air to their compositions and the fandom little more and eats them. Load and ReLoad, along with its renewed aesthetic, was a sacrilege for its followers. He Nothing Else Matters it was an offense in its day despite the success it precedes. The publication of his first video clip with One was not without opposition. And in St Anger They were rejected by the public and critics. Personally I think this album is very underrated and unfairly punished.

greg fidelman he resumes the chair of producer and mixer of the album as he did in the previous work. Mention that Fidelmann worked as an engineer and mixer for the Death Magneticmaybe that has a lot to do with the similarity of the sound of these last three albums.

What we do notice is that this new 72 Seasons It could perfectly pass as a continuation of that one Hardwired…to Self-Destruct. And let’s be honest, it’s a record loaded with cliches metalheads.

The album opens with the song that gives the album its name, Trujillo pounding an E to the bass while Ulrich accompanies him with charles marking the tempo. With the crossed compass a guitar enters outlining with small blows a riff that will give rise to a melody that both guitars will exchange to give way to the theme. We have already warned, there is nothing new, surprising, convoluted, different, are the metallica the 2000. An album made up of twelve songs that last three and a half minutes, as is the case with Æterna Lux or more than eleven minutes in in loveaveraging six minutes each song. in love, cut that closes the album, despite being the longest song, it is not one of the most tedious as if we are going to find it. For example, a change in the singing notality is appreciated in Hetfield. In practically the entire album she is singing in a high-pitched tone that gives little play to the vocal melodies due to the high range she takes and that, on the other hand, becomes monotonous to the ear. In the same theme we see how Trujillo he has his melodic contribution to the four strings, creating a drop in intensity with his bass phrasing. It’s a shame that a musician with such talent is not given more visibility to his instrument. Gone are the times when Cliff Burton dazzled with his bass lines to open songs like For Whom the Bell Tolls.

screaming suicide appears to us as a track more rocker, this being the second advance to come out as a single. Sleepwalk My Life Away opens again with a bass creating a rhythmic pattern that gradually gives way to the guitars until reaching the climax of a heavy and effective theme, but without pain or glory. Ulrich He’s not very fond of taking risks on his instrument and he’s going to cling to the bass drum and snare tooth and nail. Listen You Must Burn! and you will understand what I mean, almost all breaks of drums that he composes are in the box, a new nuance to make some parts of the album a bit monotonous. In the last third the choirs of robert trujillo they have looked so much like Tobias Forge of Ghost that I had to look for whether or not he did a collaboration.

Æterna Lux It is a song that goes straight to the point, the shortest of the twelve and fast. And it’s not that we don’t like long songs in the band; …and Justice for All It is the clear example that long songs can be made, but there is a notable difference, the freshness of ideas.

The album is not bad, it has good ideas but scattered among many cliches that do not stop repeating. And it is what turns the record into an album that passes without pain or glory. Sometimes it seems that they want to go for a more progressive path due to the sudden changes in rhythmic or harmonic pattern, but that idea does not finish establishing itself as if we verified that they did it with ease in the already mentioned album from 1988. In summary, we are before the new metallicawho continue to bet on this concept that they took into Death Magnetic and have not left aside. It is true that they no longer enjoy that freshness that they showed with that work, but their sound is still effective.

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