Metallic's heavy-metal roots date back to 1981.
In a 2002 song called "The Sound of Muzak," the band Porcupine Tree penned the following pithy observation: "The music of rebellion makes you wanna rage/ but it's made by millionaires who are nearly twice your age."
I couldn't help but recall that line while listening to Metallica's "Death Magnetic" (Warner Bros.), the band's first record in five years. Shouldn't these 40-something family men be releasing Christmas albums or all-star duets of jazz standards at this stage of their career?
Thankfully, no.
That shouldn't come as any surprise to anyone who saw the 2004 documentary "Some Kind of Monster," an unflinching look at the intraband conflict that culminated with singer James Hetfield entering rehab. Metallica's Teflon-tough image was irreparably crumpled by confessional scenes with a cardigan-wearing counselor. Well, that and the footage of Hetfield attending his daughter's ballet class.
Having endured such a painful process of interpersonal reconciliation, one might imagine Hetfield would bare his soul on these new songs. Unfortunately, "Death Magnetic" betrays no such angst, though there's plenty of anger in the generic rants about battling oppression.
Musically, this record is a return to the raw, seven-minute epics of Metallica's 1980s catalog. Here, the riffs sound as if they've been sharpened on lathes. On tracks such as "The End of the Line," "All Nightmare Long" and "My Apocalypse," producer Rick Rubin has teased out the band's long-dormant melodic talents.
The dynamics are enhanced by lead guitarist Kirk Hammett, who solos with the abandon of a man newly freed from handcuffs.
Even so, the album's tone is as monochromatic as the band's wardrobe — black is still the new black for these rockers — as the songs range from fast ones to faster ones. A ballad or two amid this strong set would have added welcome diversity.
***
It seems The Verve still had some unfinished symphonies — and unfinished business — to attend to. It was just a decade ago that the Manchester band's opus, "Bitter Sweet Symphony," propelled it to stardom in its native Britain and abroad. But then the group, which had gone through several breakups and reconciliations over the years, abruptly called it quits. Anthems such as "I See Houses" and "Rather Be" make one glad that they're back.
Even better: Richard Ashcroft's gorgeous vocal, which floats on top of a psychedelic ether, on "Judas."
Other tracks are more robust. On "Numbness," Nick McCabe's torrid guitar playing could raise the mercury in a thermometer.
Unfortunately, too many tracks on "Forth" feel like messy space-rock jams. "Noise Epic," in particular, is a case of truth in advertising. But the album's triumphant closer, "Appalachian Springs," makes one optimistic that this reunion could stick.
FYIWHAT: Metallica, "Death Magnetic"; The Verve, "Forth"
HEAR THEM: www.metallica.com;
www.theverve.co.ukBUY THEM: $9.99; $8.99
(797)
