When the metal titans in Metallica play Dallas this week, they will do so in triumph, on the heels of their late 2008 release, Death Magnetic, an album many are calling the pair's best in 20 years.
Good thing, too. What with drummer Lars Ulrich's anti Napster testimony to Congress and subsequent lawsuits against file-sharing fans; the self-pitying documentary Some Kind of Monster; and 2003's St. Anger, with its trash-can drumming, 12-step lyrics and general sonic ugliness, the pair had some ground to make up.
While reminiscing about his band's current efforts, guitarist Kirk Hammett gets philosophical about Metallica's ups and downs with fans: "We are a band that means so many different things to so many different people, and everyone needs their version of Metallica to be the predominant one," he says. "That's something that we're aware of, and it's also something we're aware that you can't actually fight or try to change."
He's right: Some folks say Metallica lost it after 1990's Black Album. Others say the fall started after 1988's ...And Justice for All. Others draw the line even earlier, with 1986's Master of Puppets. But by blending the intricate thrash of the band's early years with the powerful rut of its underrated '90s discs (aided by new bassist Rob Trujillo, once of Suicidal Tendencies and Ozzy Osbourne's band), Death Magnetic has made Metallica an act to be worshiped again. Songs like "My Apocalypse," "All Nightmare Long" and "Cyanide" biff the listener with crushing riffs, fleet solos and fist-pumping choruses.
Hammett looks back at the recording sessions for the disc, helmed by career-resuscitator-to-the-stars Rick Rubin, with fondness and pride: "I think we wanted to be in the studio with just the four of us writing music, and then going in and working at our own pace, just hashing it out among ourselves," he says. He adds that Rubin kept Metallica focused on a very particularly concept: Making music "like we did... in the '80s."
It bears mentioning, of course, that Death Magnetic also marks the end of Metallica's major-label contract. So what does the future hold?
"At the expense of looking like some kind of fuckin' asshole, I'm not gonna answer that question," Hammett says with a laugh. "There might not even be a record industry five years from now. There might not even be a CD format anymore. Everything might go directly to our cell phones. Who fuckin' knows, man?"
One thing the guitarist does know for sure, though, is that his band is just one part of a major resurgence of American metal. Hammett is quick to praise New Orleans doom revivalists Down, Texas-based stoner groove monsters The Sword, and specifically, the band that will open for Metallica at the American Airlines Center, Virginia's politically aware crushers Lamb of God. "I was looking them the other night," Hammett says of Lamb of God, "and (I was) thinking, 'Fuck, man, it was my idea to get 'em on the bill, and I think we've got our fuckin' work cut out for us.'"
He actually shouldn't feel threatened, though.
Metallica is as good as it's been in two decades. Now, if only the band could just stop taking more than five years between albums...
While reminiscing about his band's current efforts, guitarist Kirk Hammett gets philosophical about Metallica's ups and downs with fans: "We are a band that means so many different things to so many different people, and everyone needs their version of Metallica to be the predominant one," he says. "That's something that we're aware of, and it's also something we're aware that you can't actually fight or try to change."
He's right: Some folks say Metallica lost it after 1990's Black Album. Others say the fall started after 1988's ...And Justice for All. Others draw the line even earlier, with 1986's Master of Puppets. But by blending the intricate thrash of the band's early years with the powerful rut of its underrated '90s discs (aided by new bassist Rob Trujillo, once of Suicidal Tendencies and Ozzy Osbourne's band), Death Magnetic has made Metallica an act to be worshiped again. Songs like "My Apocalypse," "All Nightmare Long" and "Cyanide" biff the listener with crushing riffs, fleet solos and fist-pumping choruses.
Hammett looks back at the recording sessions for the disc, helmed by career-resuscitator-to-the-stars Rick Rubin, with fondness and pride: "I think we wanted to be in the studio with just the four of us writing music, and then going in and working at our own pace, just hashing it out among ourselves," he says. He adds that Rubin kept Metallica focused on a very particularly concept: Making music "like we did... in the '80s."
It bears mentioning, of course, that Death Magnetic also marks the end of Metallica's major-label contract. So what does the future hold?
"At the expense of looking like some kind of fuckin' asshole, I'm not gonna answer that question," Hammett says with a laugh. "There might not even be a record industry five years from now. There might not even be a CD format anymore. Everything might go directly to our cell phones. Who fuckin' knows, man?"
One thing the guitarist does know for sure, though, is that his band is just one part of a major resurgence of American metal. Hammett is quick to praise New Orleans doom revivalists Down, Texas-based stoner groove monsters The Sword, and specifically, the band that will open for Metallica at the American Airlines Center, Virginia's politically aware crushers Lamb of God. "I was looking them the other night," Hammett says of Lamb of God, "and (I was) thinking, 'Fuck, man, it was my idea to get 'em on the bill, and I think we've got our fuckin' work cut out for us.'"
He actually shouldn't feel threatened, though.
Metallica is as good as it's been in two decades. Now, if only the band could just stop taking more than five years between albums...
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