Despite the album's length, there is no slow build or scene-setting here. The title track pretty much opens things with a bang - with an old-school buzzing guitar rhythm setting an early pace, with the occasional drum punch adding colour. This buzzing sound soon explodes into a fast-paced riff, which is full of energy and is not too dissimilar from something which could have appeared on one of the band's early albums. The album packs a thrash punch from the off, then, with riffs which later resurface during the song's chorus, whilst the verses do slow things down somewhat and go for a more groove-based approach similar in tone to the self-titled album. Ulrich's verse drumming is simple but it perfectly locks in with Trujillo's prominent bass to create this groove, whilst the riffing throughout is tough. Hetfield has always sounded great vocally at all stages of Metallica's career, and he turns in another excellent performance here. His faster chorus vocals have an urgency to them despite retaining some strong hooks - whilst his rhythmic verse delivery only aids the groove-based approach further. The song is the second-longest here, though, so it does move away from the standard formula somewhat. There are a few breaks for Hammett to showcase some strong lead playing - and an early, blues-based section shines after the first chorus. His first real solo on the album, though, is lengthy and filled with lots of classic Hammett-isms. It is not as wah-drenched as it could be, but the licks and phrases are right out of his classic playbook, and this first solo is very memorable - with plenty of hooky melodies included. The mix of speed and groove throughout, with some furious double bass drum-led sections at times, is a good representation of what is to come throughout the rest of the album - and the title track does a great job of setting the tone, as well as establishing Metallica as a band who still have something to say. Shadows Follow opens in a similar manner, although some marching drums from Ulrich back Hetfield's snappy riffing, and the song builds from this base - before exploding with another tight mid-paced riff. Metallica have faced quite a lot of criticism in recent years for their production choices, but 72 Seasons sounds great in my opinion. The band have certainly gone for an old-school sound - with the bass pretty audible and Ulrich's drums having that 'clicking' sound which was present on many of their older albums. Shadows Follow showcases Greg Fidelman's production nicely, too, with Trujillo pounding away throughout the mid-paced verses - whilst a snaking pre-chorus makes the most of the two guitars to add weight, before transitioning into the punchy chorus which Hetfield soars above vocally. A subtle gang vocal-led section later harks back to some of the band's more anthemic moments, bridging to another excellent Hammett solo - which is packed with bluesy atmospherics and plenty of melodic phrases. With groove present throughout, too, the song is one that showcases Hetfield's trademark riffing style nicely - whilst adding plenty of hooks to latch onto.
Screaming Suicide feels more overtly-melodic from the off - with a big Hammett guitar lead taking prominence before a Thin Lizzy-esque harmony section then leads into the album's next big riff. Metallica have always been influenced by the NWOBHM, and the main riff here certainly could have been written in the early 1980s - with the verse it then leads into transitioning back to the self-titled album's style. This stronger focus on melody is retained throughout, though, and there is less focus on groove. The verses steam along at a decent pace, before a pre-chorus features Hetfield in a manner which only he could convincingly pull off. This pre-chorus is one of many big hooks here, before the chorus proper ups the pace somewhat and delivers another strong vocal refrain which lodges in the brain after only a handful of listens. Hammett's lead guitar is never too far away, with bluesy licks and faster melodies around every corner, whilst tougher riff-led sections later showcase the influence that Metallica had on the nu-metal scene which followed their heyday. Sleepwalk My Life Away opens with Trujillo's laying down a snappy bassline, over which a slow-burning riff and percussive pattern are laid - which builds towards another powerful mid-paced riff packed with groove. If the previous song eschewed groove somewhat, then this one reintroduces it in a big way. The slower overall pace of the track allows the grooves to settle nicely, and there is plenty of space in the mix for the bass. Metallica have famously been criticised in the past for mixing the bass so low that might as well not be there - but that is not the case here. Trujillo drives many of the album's best grooves - and the slow-burning Sleepwalk My Life Away is unsurprisingly one of the songs here which he co-wrote. There are a number of strong riffs here, each with a memorable bass accompaniment, and it is perhaps unsurprising that Hammett approaches the song in a very bluesy manner - although he also briefly adopts a neo-classical style during part of his main solo for a surprising change of pace. Despite the grooves, though, the vocals are not as hooky as they could be in my opinion. The chorus is not as memorable as many of the album's others, which is a shame as the overall riffing here is memorable - and some stronger vocal hooks would have likely pushed it to the next level. You Must Burn! is another more mid-paced track, but it feels heavier overall than the previous song - with a punchier drum performance throughout and a stuttering main riff that injects a slight doom edge. Whilst the song is not a doom track, this more deliberate pace is retained throughout - with grooves generally left behind to allow for some more old-school heaviness. Metallica have always worn their influences on their sleeves, and there is definitely a Black Sabbath vibe present throughout this song - with Ulrich's heavy-handed drum performance adding some welcome punch. This Black Sabbath feel is later expanded upon during a slightly murky bridge section. Hetfield's vocals have some effects on them here to create a slightly psychedelic edge, which is different from the norm, and this portion of the song leads into another excellent Hammett solo which is lengthy and suitably bluesy. The chorus is stronger than the previous song’s effort, too, and the overall heaviness of the track allows it to stand out.
The next song speeds things up considerably, though, and really relies heavily on the aforementioned NWOBHM influence. Lux Æterna is the album’s shortest song, and it is also the most thrashy – with plenty of double bass drumming and snappy riffing. It was the first single released from the album, too, and it set the tone nicely for what was to follow. I really like how relentless the piece is, and it harks back to an energy which Metallica’s songs do not often have these days. Ulrich’s drumming is relentless, and the riffing is very much out of the Brian Tatler (there is even a reference to Diamond Head’s Lightning to the Nations in the lyrics) school of pace and energy. There are songs here which are more interesting from a construction standpoint, but for pure energy and excitement then few are better than Lux Æterna – and it perfectly showcases that Metallica can still rock out with the best of them. Crown of Barbed Wire returns more to the mid-paced sound which generally characterises much of the album, but a strident drum performance from Ulrich helps it to stand out. Some portions of the song are pretty groove-laden, with a simple backing and plenty of bass, whilst other sections feel more staccato and heavier – leading to a varied piece that feels like it covers a range of Metallica’s multitude of approaches. Throw in a strong chorus, and the song’s mix of snaking grooves and punchy riffing justifies its length. I particular like the fairly lengthy instrumental section part-way through, too. It starts off by showcasing a couple of big riffs, set against some punchy drumming, before Hammett gets another chance to show off with a big solo and plenty more melodic licks. There is a lot to like about the song, and for me it is one of those which has really grown on me over multiple listens to the album. Chasing Light is similar, but ups the pace overall and goes for a more urgent approach – as well as upping the ferocity a little. Metallica have occasionally had a bit of a punk edge to their sound, as is often the case in thrash, and there are moments throughout this song which feel quite punky. Much of the song is filled with classic Metallica grooves, with some of Hetfield’s riffs snaking away in a typical manner, but the chorus sees things speed up somewhat – with some rawer vocals from Hetfield accenting his more traditional approach elsewhere. This chorus feels somewhat punky, then, but it still retains Metallica’s usual approach to melody. The urgency does help it to stick in the brain, though, and the song is one of the album’s most pulsing as a result. Hammett’s guitar solo reflects this, too, and he generally leaves behind the bluesier phrases here for something pacier – with some excellent shredded melodies which only add to the song’s overall urgency.
If Darkness Had a Son is another song which has significantly grown on me since first hearing it. It is one which returns to the groove-based approach of the album’s early few songs, and it also contains one of the album’s best choruses in my opinion. It may not be one of the most overtly-hooky pieces here, but after a few listens it is a song which really settles in nicely. There is a lot of room for Hammett to breathe here, which is unsurprising as he co-wrote the song, and it is another piece which seems to have a lead or melody from him around every corner. His lengthy solo is another winner, too, and is packed with hooks – but the best moment in the song for me is the chorus. There are more blatant and anthemic moments throughout the album, but the melodies really make the most of Hetfield’s trademark growl. No-one sounds like him when he is firing on all cylinders – and his chorus vocal delivery here is one of the album’s best. He snarls his way through the slow-burning hooks with ease, and after a few listens those snaking grooves are lodged in the brain where they should be. Throw in a few old-school stabbing riffs and some more cutting guitar leads and If Darkness Had a Son is one of the album’s true sleepers – and it has become a real favourite of mine. Too Far Gone? Ups the pace again, and returns to some of the energetic riffing styles which opened the album in such style. Whilst not as urgent as the album’s fastest moments, the song is one which really goes for it – with Hammett often turning up to shred atop Hetfield’s tight, snappy riffing. Trujillo’s bass thunders away in the background, too, and due to the number of times that Ulrich hits his snare during one of his many simple fills it is surprising that it was still standing by the end. Despite this simplicity, there are still a few twists and turns to enjoy. Hetfield’s riffing occasionally morphs into a smoother rhythm, adding some dynamics, whilst him and Hammett also sometimes team up for some more Thin Lizzy-esque moments – adding additional melody and groove into what is otherwise a pacy thrash metal anthem. The chorus is simple, too, but effective – and the song is one that focuses more on overt melodies than some of the others do, with riffing, vocal hooks, and shredded guitar leads taking priority over everything else. Room of Mirrors retains the overall pace of the previous song, but looses some of the simplicity and goes for a more all-out thrash approach crossed with some more groove-based sections. The pace is overall high, but injections of slower riffing add colour. With much of the album being made up of fairly mid-paced, crunchy songs; having two faster pieces towards the end of the album helps to retain interest. This is a long album, and in truth would have likely felt stronger if it was shorter despite none of the songs here being genuinely weak, so it is important that the band keep changing up the pace to keep things interesting. A couple more pacy moments throughout would not have hurt – but this focus on pace towards the end of the album certainly helps to grab the listener again following a handful of more plodding pieces. The slower moments throughout this song only serve to make the thrashy sections sound heavier and faster – and the use of more twin-guitar leads occasionally throughout adds more melody. Twin-guitar leads are not used often enough by Metallica in my opinion, but they shine during certain sections of this song – showing that Hetfield and Hammett have always been a guitar duo that have worked well together.
The album then drops its recent love of pace and closes out with the lengthy, mid-paced, and groove-laden Inamorata. It is the band’s longest ever song at over 11 minutes, but it generally retains the interest throughout – with an excellent recurring chorus providing an early earworm. It was mentioned earlier how no-one really sounds like Hetfield vocally when he is at his best, and the chorus here is a great example of that. His melodic roars are like no other, and the way he snarls the mid-paced chorus is unique to him – with the band’s precise grooves only enhancing the melodies. The song is generally quite one-paced, which could work against it given its length, but I actually like how reliant on its grooves it is. It really hammers its rhythm home, but there are moments that vary things somewhat. Hammett’s lead guitar moments add additional melody, whilst a great slow-burning moment sees the band adopt a ballad-esque approach briefly. There are no ballads here, but the section here which sees the band drop away to leave Trujillo’s whimsical bass alone with some delicate guitar melodies, which Hetfield later sings over, is welcome and adds some beauty to the piece – before the band gradually beef the song up again, leading into some more excellent twin-guitar leads. The interplay between Hetfield and Hammett throughout this section is excellent, ranging from delicate to explosive – and when the doomy riffing that characterises the rest of the song kicks back in the previous deviation has done its job to spice things up. The chorus soon returns, too, but this time it is stretched out and played around with somewhat – with Ulrich changing up his drumming approach to make it feel more vital in the song’s final section, before Hammett closes out the album with one last lengthy, shredded guitar solo. It ends the album on a real high, and the lengthy track shows that Metallica’s songwriting abilities have not really diminished over the years. Whilst the album is probably a couple of songs too long, given the general overall strength of the material here I doubt that there would be a consensus over which songs to cut. There is a lot to like here, and it is always great to see veteran bands still writing strong and engaging material. In my opinion Metallica’s recent run of albums has been strong, and I can see 72 Seasons getting a lot more love from me over the coming months. A bit more pace throughout would have been nice, but the strong grooves here are generally infectious – and Hetfield continually shows why he is often considered as one of the best vocalists and riff-writers in metal.
The album was released on 14th April 2023 via Blackened Recordings Inc. Below is the band's promotional video for Lux Æterna.
No comments:
Post a Comment