Showing posts with label Metallica. Show all posts
Showing posts with label Metallica. Show all posts
Tuesday, March 11, 2014
Holier Than Thou cover
Metallica - Holier Than Thou cover
All rights belong to Metallica.
Lyrics :
no more, the crap rolls out your mouth again
haven't changed, your brain is still gelatin
little whispers circle around your head
why don't you worry 'bout yourself instead?
"who are you? where ya been? where ya from?"
gossip's burning on the tip of your tongue
you lie so much you believe yourself
judge not, lest ye be judged yourself
holier than thou
you are
holier than thou
you are
you know not
before you judge me take a look at you
can't you find something better to do?
point the finger, slow to understand
arrogance and ignorance go hand in hand
it's not who you are, it's who you know
others lives are the basis of your own
burn your bridges, then build them back with wealth
judge not lest ye be judged yourself
holier than thou
you are
holier than thou
you are
you know not
yeah, who the hell are you?
holier than thou
you are
holier than thou
you are
you know not
not
Backing track used :
https://www.youtube.com/watch?v=YFTjV3O9Fx8
GyZ at Bandcamp.
If you want, check out my music
and / or
Buy me beer. Read more!
Sunday, January 5, 2014
Re-discovering Metallica in the context of St Anger and Death Magnetic
Year : early '80s to present days
Genre : Thrash Metal, Doom Rock
Label : Vertigo, Elektra
Origin : United States
The size of the shitstorm Metallica has found itself in with the St Anger album, did not even register in my awareness for ten years, courtesy of me occupying a highly ignorant inner position by which my interest towards the band was pretty much zero, or even worse. I was a snob, a mancunt who considered Metallica's music to be equally necessary and - so to speak - over and done with, I though it is family friendly material in present days, that would not be able to catch me off-guard anymore. Bold - and possibly ignorant - enough assumptions to make me intrigued to see if my above voiced sentiments had any legitimacy to them. So I finally have decided that it would be a very good AND real fucking necessary idea to check out Metallica material in at attempt to re-evaluate my related overall awareness, as a band of this significance definitely demands a chance to kick my ass once again if they can. I wanted to see how Metallica would affect me, having not listened to them for more than a decade, - except for the Lulu album, of which though I have written a review, I block the experience from my consciousness - and having no experience/knowledge with St Anger and Death Magnetic, either. So, for a start I popped in "Holier Than Thou" from the Black Album on YouTube, - though I have my bona-fide, used-by-your-n1-latex-gimp-music-critic-gyz-Black Album CD from 1991, starting bid = $200 - gave it maximum headphone juice power, and waited for the uncensored effect it is able to induce in me after 10+ years of not hearing it. BOY, the effect was tremendous! No, it was not nostalgia. Nostalgia is miserable. The music on the Black Album is 101% legit to this day. Read on to know more about this.
Read more!
Genre : Thrash Metal, Doom Rock
Label : Vertigo, Elektra
Origin : United States
The size of the shitstorm Metallica has found itself in with the St Anger album, did not even register in my awareness for ten years, courtesy of me occupying a highly ignorant inner position by which my interest towards the band was pretty much zero, or even worse. I was a snob, a mancunt who considered Metallica's music to be equally necessary and - so to speak - over and done with, I though it is family friendly material in present days, that would not be able to catch me off-guard anymore. Bold - and possibly ignorant - enough assumptions to make me intrigued to see if my above voiced sentiments had any legitimacy to them. So I finally have decided that it would be a very good AND real fucking necessary idea to check out Metallica material in at attempt to re-evaluate my related overall awareness, as a band of this significance definitely demands a chance to kick my ass once again if they can. I wanted to see how Metallica would affect me, having not listened to them for more than a decade, - except for the Lulu album, of which though I have written a review, I block the experience from my consciousness - and having no experience/knowledge with St Anger and Death Magnetic, either. So, for a start I popped in "Holier Than Thou" from the Black Album on YouTube, - though I have my bona-fide, used-by-your-n1-latex-gimp-music-critic-gyz-Black Album CD from 1991, starting bid = $200 - gave it maximum headphone juice power, and waited for the uncensored effect it is able to induce in me after 10+ years of not hearing it. BOY, the effect was tremendous! No, it was not nostalgia. Nostalgia is miserable. The music on the Black Album is 101% legit to this day. Read on to know more about this.
Read more!
Saturday, December 10, 2011
Metallica - Beyond Magnetic EP
Year : 2011
Genre : Thrash Metal
Label : Vertigo
Origin : United States
Rating : 8.2 / 10
Metallica is quick to release an EP following the controversial Lulu quasi-shockumentary that gave your mom a series of successful nervous breakdowns. Beyond Magnetic sounds bravely old school and "garagy" - sorry about that - in a skillfully and tastefully researched Black Sabbathian way, and the Metallica members thankfully bring re-invigorated thrash heft with relevant melodic power, hell, yes! James Hetfield's voice sounds especially ripe, confident and complete, in my opinion. Notice how he sometimes exhibits a midrange timber that is very reminiscent to Freddy Mercury's. What I personally hear on this release leaves me absolutely content as far as the post-black album Metallica era is concerned, and here is why : I always liked the Load and Reload albums, despite the amount of flame those albums seemed to have generated, and the nature of this EP brings to mind character-similarities with the direction of those two black sheep LPs, in my opinion. Beyond Magnetic does not sound to me as cyber-polished OR gritty as Death Magnetic does, yet still sounds superb in the spirit of a much different, more restrained, yet sanely chosen and well focused music methodology. This restrained, but at heart hefty Metallica is more authentic to me to be honest than Dave Mustaine is with a song to the metalcore adolescent, WTF. Read on to find out more about this Metallica EP.
You know the recent day Metallica listening deal : good old fashioned-, always honest Larsian 4/4 pummeling - check out this timeless EPIC FAIL video about Lars Ulrich, too - interchanged with melodic sequences that promise a lot to sink your teeth into, and rightfully so, because, though these compositions are accessible and relatively simplistic in nature, - not necessarily a hindrance, nor benefit - this simplicity never lacks musical exigency and convince power, and the riffcraft is pretty stable, too. Classic Hetflield riffing with great sense and taste exhibited throughout the mere sonic frequency domains, and, oh, Kirk Hammet's feet are still glued to the whammy bar, and she is not afraid to use it!! Unbelievable!
Metallica seems to be taking the fanbase seriously, and this new EP, regardless how similar it is in parts for earlier works, - example : opening track "Hate Train" has this intensified segment. This totally sounds like "Fuel". This is not a problem by me at all, I'm just saying - is once again the Metallica you can regard as a formation that seeks to entertain and not to self-indulge, though I do not find all that much need in myself to flame the Lulu superlong-play anymore. One has the hunch that the next Metallica LP is coming through a space-time rift near you, and there is nothing else to add to this than what Caleb would.
Bring it ooooooon!
Rating : 8.2 / 10
If you want, check out my music
and / or
Buy me beer. Read more!
Genre : Thrash Metal
Label : Vertigo
Origin : United States
Rating : 8.2 / 10
Metallica is quick to release an EP following the controversial Lulu quasi-shockumentary that gave your mom a series of successful nervous breakdowns. Beyond Magnetic sounds bravely old school and "garagy" - sorry about that - in a skillfully and tastefully researched Black Sabbathian way, and the Metallica members thankfully bring re-invigorated thrash heft with relevant melodic power, hell, yes! James Hetfield's voice sounds especially ripe, confident and complete, in my opinion. Notice how he sometimes exhibits a midrange timber that is very reminiscent to Freddy Mercury's. What I personally hear on this release leaves me absolutely content as far as the post-black album Metallica era is concerned, and here is why : I always liked the Load and Reload albums, despite the amount of flame those albums seemed to have generated, and the nature of this EP brings to mind character-similarities with the direction of those two black sheep LPs, in my opinion. Beyond Magnetic does not sound to me as cyber-polished OR gritty as Death Magnetic does, yet still sounds superb in the spirit of a much different, more restrained, yet sanely chosen and well focused music methodology. This restrained, but at heart hefty Metallica is more authentic to me to be honest than Dave Mustaine is with a song to the metalcore adolescent, WTF. Read on to find out more about this Metallica EP.
You know the recent day Metallica listening deal : good old fashioned-, always honest Larsian 4/4 pummeling - check out this timeless EPIC FAIL video about Lars Ulrich, too - interchanged with melodic sequences that promise a lot to sink your teeth into, and rightfully so, because, though these compositions are accessible and relatively simplistic in nature, - not necessarily a hindrance, nor benefit - this simplicity never lacks musical exigency and convince power, and the riffcraft is pretty stable, too. Classic Hetflield riffing with great sense and taste exhibited throughout the mere sonic frequency domains, and, oh, Kirk Hammet's feet are still glued to the whammy bar, and she is not afraid to use it!! Unbelievable!
Metallica seems to be taking the fanbase seriously, and this new EP, regardless how similar it is in parts for earlier works, - example : opening track "Hate Train" has this intensified segment. This totally sounds like "Fuel". This is not a problem by me at all, I'm just saying - is once again the Metallica you can regard as a formation that seeks to entertain and not to self-indulge, though I do not find all that much need in myself to flame the Lulu superlong-play anymore. One has the hunch that the next Metallica LP is coming through a space-time rift near you, and there is nothing else to add to this than what Caleb would.
Bring it ooooooon!
Rating : 8.2 / 10
If you want, check out my music
and / or
Buy me beer. Read more!
Thursday, October 20, 2011
Lou Reed and Metallica - Lulu review
Year : 2011
Genre : Avant-Garde Drunk Metal
Label : Warner Bros., Vertigo
Origin : United States
Rating : 3.5 / 10
Buy it now - the Deluxe Edition is only $168, after all.
Kicking into Metallica is no act, nor daredevil sport these days, yet the super-notorious formation once again comes out with a sonic shockumentary, now teaming up with Lou Reed, who delivers - hm - poems (??) along a kind of broken man / drunktard narrative with Metallica's - most often - enervated, tired and seemingly uninspired background jam.
The lyrical content is based on a character called Lulu from a German play, but, if you are interested in that more seriously than this album has aspiration to ease your related thirst, then you want to check out G.W. Pabst's movie adaptation of the plays, called Pandora's Box with ultimate jazz baby Louise Brooks as the lead character Lulu. This is a silent movie, a robust cinematic masterpiece, and, this minor-, and not too relevant clusterfuck of a record would be so much better if it would be a silent record, too.
There are no intricately sculpted riff-flows on this double barreled CD set, Kirk Hammet plays one solo and I guarantee that you'll wish he had NOT, so, if you are looking for top of the heat aural pleasantries and music with meticulous work in it, then this Lou Reed / Metallica creation will leave you with a gigantic red plüsch dildo and a Bazinga!, rest assured. This record is about Lou Reed, and Metallica gives the background FOR a record, that is about him. Everything is all right, so far. But! This release implodes under its own ambitions legendarily, which is interesting to watch, but kind of terrible to hear. One has the secretive impression, that, coming to this collaboration with the Metallica crew members, Lou Reed had the plan that he will have the rampant Frank Zappa going on on this album. Oh well. Man plans, God delivers.
The creative efforts sound to be pretty consistently low level on this double spin, - exceptions to be addressed later - especially if you stick to the Zappa comparison and try to approach this studio - hahaha! - product with an awareness that has Zappa's related work in sight. Do you know the song The Great Jazz Discharge from Mr. Zappa, for example? He gives out a hilarious drunk rant about - well - various stuff, but there is Steve Vai behind his back, who follows the anatomical sonic structure of Zappa's rant on his guitar. Wicked stuff. In other words, you hear a superbly imitated drunk turd having his miserable rant, but radically legit and elusive music ALSO is created along the way, courtesy of the exquisite guitar content played by Steve Vai, who always was / is / will be superb at imitating human speech on the strings. Imitating human speech with guitar takes m4d sk1lls, man.
Regarding this record, I have the feeling that Lou Reed and Metallica tried to summon a similar feel than the Zappa song mentioned above, only ended up spurting out a sloppy, pseudo-spontaneous, fucking mess, but, at least, galores of it. There is nothing wrong with creating a mess, but selling it as the final product occupying a double CD is rather hilarious / shameful of an idea, take your personal pick. I know this next sentence will sound like one of a proper snob in pink bath rob, - which one of mine does not eh?? - but here goes : this release seeks to shovel down on your throat a sense of forced spontaneity/intimacy, that which though tends to lack minimal levels of exigency, even.
Solidification of this notion : this review will address all tracks on the first CD, and you can have some of the rest on the second for your own discovery, but let's take a quick preview at track 2, called "The View". Do you like this super-simplistic sludge riff, which could be a shy intermezzo on a proper sludge release? You better LOVE it, fangirl/fanboy, because you will have 3 minutes and 50 seconds of this pattern before James Hetfield shows momentary mercy. In other words : this record takes you for a fool, and does that very shamelessly, too. Read on to find out more about this relative embarrassment or don't.
Track 1, Brandenburg gate is the 4 minutes long glorification of a not at all inventive power chord arrangement revolving around the C, G and F bonfire chords. Yes, you can sing Knocking on Heaven's Door on it and other 23894723894239 songs, as well. After eternal minutes of relentless chord pattern repetition with Reed's sentiments on top, James Hetfield finally sings "small town girl" on every C chords, while Lou Reed talks about stuff in the empty space that remains between two "small town girl"s.
Track 2, The View revolves around a simplistic, but decent riff, giving support to Lou Reed's follow-up declaration about how he wants to see you giving up your life of reason and stuff. The crude flow of the music is interrupted by a more intense intermission with Hetfield on vocals, but, the efficiency of this sequence is partly due to the relatively lackluster form of magic inherent to the central sonic "mass" of this sorrowfully "balanced" track.
Track 3, Pumping Blood is a reluctant-, kind-of experimental build that fails to turn into anything yet via its intro section - regardless of the tormented cello, but at least they have tried - then Lou speaks about stuff - because Lou likes to do that on this release - with an ambient musical BG rendered by the Metallica dudes to support the worded sentiments. Later on, the lazy build is aware enough to imbue a sludge-ish tint into the architecture, but this tar-potential collapses back to where it came from before venturing forth into another direction it could have looked good on. Reed once again exhibits thoughts of profound-, and high level misery in an intentionally rhythmic fashion, and Lars Ulrich, fortunately enough, is quick to command some riffage into the build via strict pummeling. This riffage though is very hard to decipher, it is more noise than notes with meat on them. Lou is relentless at delivering his lines along the same modal intensity. The crude, enervated experimental "flow" arrives to a simplistic breakdown at the end, and the track concludes.
Track 4, Mistress Dread opens up with solid, old school thrashing, but it quickly turns out that the very first bar of the intense thrashing is all there is to it, too. A withered vocal babbling joins in - it would not do justice (not for all nor for anything else) to regard it as singing. Lou's mutter sticks around persistently, and you find yourself with the same 1-bar thrash riff being played 3 minutes into the mix, and Lou still has a whole lot of issues to address along the same modal register. Ugh.
Track 5, Iced Honey starts out like a Sammy Haggar rom-antic with drunkass sludge guitars, and Lou Reed here actually tries to sing, and even succeeds. By 1:20 into the song, you crave variation badly, but Lou Reed keeps telling his stuff about a butterfly as I recall, supported by sloppily produced quasi-sludge. Sometimes Hetfield joins in with tight singing for a bar or two, stating : "see if the eyes will melt for you." Nah, it probably is "ice." A highly uneventful song, and I have major qualms regarding the production values on this one, too. This does not sound any better than something that has been picked up from the waste bin of the studio, to be honest. But, if you are a troll on a carnage, I would not be the one who laughs his ass off if you'd say that the entire release is sloppily produced, and exceptions are few.
Track 6, Cheat on Me starts out with a mellow instrumental sequence that has an oriental, tender, risk-free tint to it, and the bass that is about to reveal itself, has a superb, fat presence, adding to the shape of things in a legit, flamboyant, fluent fashion. Lou Reed joins in at about 3:00, and, in this build, his broken man narrative is solid and authentic, yet, his stuff keeps on demonstrating lower values. "Why do you cheat on me?" - he asks. Pha! Because you fail to give the chick proper fun, that is why. The song's fabric later on is complimented by Lars Ulrich's classic mid-tempo pounding, and a sober limitation on the guitar's presence makes this song the first "healthy-looking" track on the record. Cool.
As noted, there is a whole other, autonomous second CD on board, but, these deliveries are not a tad more interesting nor different than the content found on the first disc. Not in character. They are though, lengthier. Sometimes inept, frequently masturbatory, and in a constant, embarrassing "spazz" to be highly original, this double release generally seems to be a mess with very few saving graces. As for the these beneficiary aspects, they mostly will coming your way when Metallica decides to rumble around for a minute or two, - never more, unfortunately - but these moments are extremely scarce. And, while there are about 4 minutes of legit riff work here as I recall after enduring this double spin, rudimentary pattern abuses are degrading this installment greatly. What's up with the main riff in the track called Dragon, for instance? This ain't as good as to play it around for 8 minutes, yet this exactly is what the album does. The second CD's Little Dog is a perfect example of the hidden track the album should have featured. Mellow acoustic jam with a restrained, tasteful southern vibe, and Lou Reed's performance is legit in this track, because he does not sound like a drunk. The avid Metallica fan though will dismiss this as unacceptable, lackluster cowboy-ambient.
- sigh -
Once again, I have no intention to kick into Metallica, they have shaped the music in me as they did in numerous other souls via dozens and dozens of timelessly great songs they have written during their illustrious career. Yet, this record, for the immense part of it, simply sounds to be way too sloppily-, inappropriately spontaneously realized and - most often - ridiculously repetitious (looped simple riffs in your face for minutes, WTF?), to be seriously enthusiastic about. If they would give it away for free, it still would be kind of an insult for the band's ultimate legacy. That 1 song I liked without any restrain about the Little Dog, what do you want? - and a cowboy-ambient Thus Spoke Zarathustra-knockoff at the end of the second CD is not enough to make me a happy troll. Metallica with Lou Reed on board - more precisely, Lou Reed with Metallica on board - is not a major disaster though, at the end of the day. It is a minor one, only.
Rating : 3.5 / 10
If you want, check out my music
and / or
Buy me beer. Read more!
Genre : Avant-Garde Drunk Metal
Label : Warner Bros., Vertigo
Origin : United States
Rating : 3.5 / 10
Buy it now - the Deluxe Edition is only $168, after all.
Kicking into Metallica is no act, nor daredevil sport these days, yet the super-notorious formation once again comes out with a sonic shockumentary, now teaming up with Lou Reed, who delivers - hm - poems (??) along a kind of broken man / drunktard narrative with Metallica's - most often - enervated, tired and seemingly uninspired background jam.
The lyrical content is based on a character called Lulu from a German play, but, if you are interested in that more seriously than this album has aspiration to ease your related thirst, then you want to check out G.W. Pabst's movie adaptation of the plays, called Pandora's Box with ultimate jazz baby Louise Brooks as the lead character Lulu. This is a silent movie, a robust cinematic masterpiece, and, this minor-, and not too relevant clusterfuck of a record would be so much better if it would be a silent record, too.
There are no intricately sculpted riff-flows on this double barreled CD set, Kirk Hammet plays one solo and I guarantee that you'll wish he had NOT, so, if you are looking for top of the heat aural pleasantries and music with meticulous work in it, then this Lou Reed / Metallica creation will leave you with a gigantic red plüsch dildo and a Bazinga!, rest assured. This record is about Lou Reed, and Metallica gives the background FOR a record, that is about him. Everything is all right, so far. But! This release implodes under its own ambitions legendarily, which is interesting to watch, but kind of terrible to hear. One has the secretive impression, that, coming to this collaboration with the Metallica crew members, Lou Reed had the plan that he will have the rampant Frank Zappa going on on this album. Oh well. Man plans, God delivers.
The creative efforts sound to be pretty consistently low level on this double spin, - exceptions to be addressed later - especially if you stick to the Zappa comparison and try to approach this studio - hahaha! - product with an awareness that has Zappa's related work in sight. Do you know the song The Great Jazz Discharge from Mr. Zappa, for example? He gives out a hilarious drunk rant about - well - various stuff, but there is Steve Vai behind his back, who follows the anatomical sonic structure of Zappa's rant on his guitar. Wicked stuff. In other words, you hear a superbly imitated drunk turd having his miserable rant, but radically legit and elusive music ALSO is created along the way, courtesy of the exquisite guitar content played by Steve Vai, who always was / is / will be superb at imitating human speech on the strings. Imitating human speech with guitar takes m4d sk1lls, man.
Regarding this record, I have the feeling that Lou Reed and Metallica tried to summon a similar feel than the Zappa song mentioned above, only ended up spurting out a sloppy, pseudo-spontaneous, fucking mess, but, at least, galores of it. There is nothing wrong with creating a mess, but selling it as the final product occupying a double CD is rather hilarious / shameful of an idea, take your personal pick. I know this next sentence will sound like one of a proper snob in pink bath rob, - which one of mine does not eh?? - but here goes : this release seeks to shovel down on your throat a sense of forced spontaneity/intimacy, that which though tends to lack minimal levels of exigency, even.
Solidification of this notion : this review will address all tracks on the first CD, and you can have some of the rest on the second for your own discovery, but let's take a quick preview at track 2, called "The View". Do you like this super-simplistic sludge riff, which could be a shy intermezzo on a proper sludge release? You better LOVE it, fangirl/fanboy, because you will have 3 minutes and 50 seconds of this pattern before James Hetfield shows momentary mercy. In other words : this record takes you for a fool, and does that very shamelessly, too. Read on to find out more about this relative embarrassment or don't.
Track 1, Brandenburg gate is the 4 minutes long glorification of a not at all inventive power chord arrangement revolving around the C, G and F bonfire chords. Yes, you can sing Knocking on Heaven's Door on it and other 23894723894239 songs, as well. After eternal minutes of relentless chord pattern repetition with Reed's sentiments on top, James Hetfield finally sings "small town girl" on every C chords, while Lou Reed talks about stuff in the empty space that remains between two "small town girl"s.
Track 2, The View revolves around a simplistic, but decent riff, giving support to Lou Reed's follow-up declaration about how he wants to see you giving up your life of reason and stuff. The crude flow of the music is interrupted by a more intense intermission with Hetfield on vocals, but, the efficiency of this sequence is partly due to the relatively lackluster form of magic inherent to the central sonic "mass" of this sorrowfully "balanced" track.
Track 3, Pumping Blood is a reluctant-, kind-of experimental build that fails to turn into anything yet via its intro section - regardless of the tormented cello, but at least they have tried - then Lou speaks about stuff - because Lou likes to do that on this release - with an ambient musical BG rendered by the Metallica dudes to support the worded sentiments. Later on, the lazy build is aware enough to imbue a sludge-ish tint into the architecture, but this tar-potential collapses back to where it came from before venturing forth into another direction it could have looked good on. Reed once again exhibits thoughts of profound-, and high level misery in an intentionally rhythmic fashion, and Lars Ulrich, fortunately enough, is quick to command some riffage into the build via strict pummeling. This riffage though is very hard to decipher, it is more noise than notes with meat on them. Lou is relentless at delivering his lines along the same modal intensity. The crude, enervated experimental "flow" arrives to a simplistic breakdown at the end, and the track concludes.
Track 4, Mistress Dread opens up with solid, old school thrashing, but it quickly turns out that the very first bar of the intense thrashing is all there is to it, too. A withered vocal babbling joins in - it would not do justice (not for all nor for anything else) to regard it as singing. Lou's mutter sticks around persistently, and you find yourself with the same 1-bar thrash riff being played 3 minutes into the mix, and Lou still has a whole lot of issues to address along the same modal register. Ugh.
Track 5, Iced Honey starts out like a Sammy Haggar rom-antic with drunkass sludge guitars, and Lou Reed here actually tries to sing, and even succeeds. By 1:20 into the song, you crave variation badly, but Lou Reed keeps telling his stuff about a butterfly as I recall, supported by sloppily produced quasi-sludge. Sometimes Hetfield joins in with tight singing for a bar or two, stating : "see if the eyes will melt for you." Nah, it probably is "ice." A highly uneventful song, and I have major qualms regarding the production values on this one, too. This does not sound any better than something that has been picked up from the waste bin of the studio, to be honest. But, if you are a troll on a carnage, I would not be the one who laughs his ass off if you'd say that the entire release is sloppily produced, and exceptions are few.
Track 6, Cheat on Me starts out with a mellow instrumental sequence that has an oriental, tender, risk-free tint to it, and the bass that is about to reveal itself, has a superb, fat presence, adding to the shape of things in a legit, flamboyant, fluent fashion. Lou Reed joins in at about 3:00, and, in this build, his broken man narrative is solid and authentic, yet, his stuff keeps on demonstrating lower values. "Why do you cheat on me?" - he asks. Pha! Because you fail to give the chick proper fun, that is why. The song's fabric later on is complimented by Lars Ulrich's classic mid-tempo pounding, and a sober limitation on the guitar's presence makes this song the first "healthy-looking" track on the record. Cool.
As noted, there is a whole other, autonomous second CD on board, but, these deliveries are not a tad more interesting nor different than the content found on the first disc. Not in character. They are though, lengthier. Sometimes inept, frequently masturbatory, and in a constant, embarrassing "spazz" to be highly original, this double release generally seems to be a mess with very few saving graces. As for the these beneficiary aspects, they mostly will coming your way when Metallica decides to rumble around for a minute or two, - never more, unfortunately - but these moments are extremely scarce. And, while there are about 4 minutes of legit riff work here as I recall after enduring this double spin, rudimentary pattern abuses are degrading this installment greatly. What's up with the main riff in the track called Dragon, for instance? This ain't as good as to play it around for 8 minutes, yet this exactly is what the album does. The second CD's Little Dog is a perfect example of the hidden track the album should have featured. Mellow acoustic jam with a restrained, tasteful southern vibe, and Lou Reed's performance is legit in this track, because he does not sound like a drunk. The avid Metallica fan though will dismiss this as unacceptable, lackluster cowboy-ambient.
- sigh -
Once again, I have no intention to kick into Metallica, they have shaped the music in me as they did in numerous other souls via dozens and dozens of timelessly great songs they have written during their illustrious career. Yet, this record, for the immense part of it, simply sounds to be way too sloppily-, inappropriately spontaneously realized and - most often - ridiculously repetitious (looped simple riffs in your face for minutes, WTF?), to be seriously enthusiastic about. If they would give it away for free, it still would be kind of an insult for the band's ultimate legacy. That 1 song I liked without any restrain about the Little Dog, what do you want? - and a cowboy-ambient Thus Spoke Zarathustra-knockoff at the end of the second CD is not enough to make me a happy troll. Metallica with Lou Reed on board - more precisely, Lou Reed with Metallica on board - is not a major disaster though, at the end of the day. It is a minor one, only.
Rating : 3.5 / 10
If you want, check out my music
and / or
Buy me beer. Read more!
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