X
登录 · · · · · ·
简介 · · · · · ·
Play View Metallica's page on Rhapsody
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... (展开全部) Play View Metallica's page on Rhapsody
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.
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... (展开全部) Play View Metallica's page on Rhapsody
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.
曲目 · · · · · ·
1. That Was Just Your Life
2. The End Of The Line
3. Broken, Beat & Scarred
4. The Day That Never Comes
5. All Nightmare Long
6. Cyanide
7. The Unforgiven III
8. The Judas Kiss
9. Suicide & Redemption
10. My Apocalypse
2. The End Of The Line
3. Broken, Beat & Scarred
4. The Day That Never Comes
5. All Nightmare Long
6. Cyanide
7. The Unforgiven III
8. The Judas Kiss
9. Suicide & Redemption
10. My Apocalypse
豆瓣成员常用的标签(共66个) · · · · · ·
喜欢听"Death Magnetic"的人也喜欢 · · · · · ·
乐评 · · · · · ·
热门评论
最新评论
我来评论这张唱片
X
登录 · · · · · ·
登录 · · · · · ·
出了张0分专集的好处就是下一张专集不管怎么样大伙...
-
- 归宿 metallica出新专集了.怎么说呢,这对于这个从1991年以来就没写过好歌的传奇乐队来说还不是件容易的事.2003年的那张st.anger就不用再说什么了.那就是传说中的0分专集,甚至乐队自己在现场都不敢演这张专集的歌.你大致也就可以推断出这张专集有多可怕了. 说起来Metallica也算是命运多舛的了,乐队的两...... (38回应)
2008-09-07 32/36有用
我们再也回不去了,对不对
-
- 李风(深深的忧愁与悲伤) 前一段看到Metallica在德国Rock Am Ring上的表演,三个老爷们加一个大猩猩张牙舞爪地演了两个多小时,分分秒秒都是高潮,底下兴奋得一塌糊涂,台上一通乒乒乓乓。当时我感觉Metallica还没老,他们还是很牛逼的,他们仍然是这个世界上最好的重型乐队甚至摇滚乐队之一。北流曾经想请他们来华,结果乐队开价500万...... (17回应)
2008-10-14 3/4有用
怎么感觉音色那么炸啊?
-
- 旋律哥特死 我下的ape格式的,专辑整体感觉挺好,不知道为什么音色听着就是不舒服,总感觉刺啦刺啦的,刺耳,solo的时候还好,重音的时候尤其明显,metallica故意用到这种音色?还是我下的有问题......
2009-03-01
"Death Magnetic"论坛 · · · · · ·
| 320K mp3下载! | 来自帝戈 | 5 回应 | 2009-06-27 |
| 这封面真垃圾啊~~ | 来自朵云 | 27 回应 | 2009-06-19 |
| ? | 来自倘若 | 2009-06-09 | |
| 评论 评论"Death Magnetic" | 来自pacino | 1 回应 | 2009-06-04 |
| 明明很优秀 | 来自这次的黎明漫长得让人窒息 | 3 回应 | 2009-06-04 |
> 浏览更多话题
在哪儿买这张唱片? · · · · · ·
以下豆列推荐 · · · · · · (全部)
- 2008年这些大牌们出专辑了!(最佳出炉) (Mignon)
- 第51届(2009)格莱美奖获奖&提名专辑收集(整理中) (舒达)
- 08年重型音乐及周边推荐 (Anubis)
- 滚石杂志年度最佳50张专辑 (溜子)
- Metal (paoe)
谁听这张唱片?
喜欢这张唱片的人常去的小组 · · · · · ·

- Metallica (777)

- 激流金属 (829)

- Metal 4 Ever (2464)

- 重型音乐杂志 (774)

- 我他妈想认识个金属范儿的... (360)

- 极端音乐 (1435)

- GIBSON (508)

- 铁血篇章·金属词作赏析 (1242)
订阅关于Death Magnetic的评论:
feed: rss 2.0













