An eight year gap sounds like a fair while between records, particularly for an act as big as Metallica. And yet, somehow, it doesn’t really feel like it’s been that long. Part of the reason could be because since 2008’s Death Magnetic, the band have still been ever present in the spotlight, exploring other branches of the Metallica brand. Whilst these ventures were largely unsuccessful (the poorly received collaboration with Lou Reed and the 3D movie and festival that both failed to recoup their budgets for example), fans were at least able to take solace in the odd musical release (the Past Magnetic EP and the “Lord of Summer” single) and their potent live shows (in particular their 30th anniversary gigs and full album performances of Ride the Lightning, Kill ‘Em All and Metallica). After a slow and steady process, Metallica finally present their tenth studio album, the double disc endeavour dubbed Hardwired… to Self-Destruct.
The title track opens the show, and it couldn’t be more of a red herring if it tried. A lean, mean slice of thrash, it is the shortest song the band have composed alongside 1983’s “Motorbreath”. It’s built around a devilishly simple riff that subtly evolves as the song goes on, Hetfield musing that “we’re so fucked, shit out of luck, hardwired to self-destruct”. It’s blunt and to the point; a conscious effort from Hetfield and Ulrich to open the album with something fast. You’d think the song might set the tone for a few more face melters, but save for a riff or passage here and there, the only other pure bred thrasher is the closer “Spit Out the Bone”. A much meatier number, its main riff is the perfect mix of aggression and melody; with Hetfield’s delivery as venomous as any of the band’s revered ‘80s classics. The latter half of the song does become a bit cluttered, but it’s a brief lapse in an album that sees the band’s strength as song-writers return to the fore. I say the band, when I essence I should say Hetfield and Ulrich, as they share writing credits on eleven of the twelve songs. Trujillo gets a sole credit, whilst Hammett’s name is absent for the first time since 1983’s debut Kill ‘Em All due to a misplaced iPhone. Hetfield and Ulrich have always been the core of the group, and whilst Hammett has made several contributions throughout Metallica’s history (the main riff, of sorts at least, to “Enter Sandman” being the most notable), the album doesn’t suffer for his songwriting absence. Hetfield not only proves himself to once again be a riff machine, he also shows he’s adept at crafting wonderful melodies and harmonies, an underrated facet of his abilities. He is the real star of the record, and not only for his excellent guitar and riff work. His vocal performance sounds like it could’ve been recorded during the Garage Inc. sessions, with the grit, range and tone that made that particular album his vocal peak. Quite how he’s managed to replicate it almost two decades later I’m not sure, but the album is all the better for it.
Whilst the record draws from a variety of Metallica’s past efforts, it primarily derives its sound from the ’91-‘97 era, placing more emphasis on groove rather than speed. There’s more than a fair share of muscular, moderately paced Justice style riff work too, as primarily seen in the second and third singles, “Moth Into Flame” and “Atlas, Rise!”, both of which are among the stronger selections here. “Dream No More” is a sludgy crusher; a bastard mix of “Devil’s Dance” and “The Thing That Should Not Be”, with haunting vocals that evoke the ominous spirit of the highly underrated “Where the Wild Things Are” from 1997’s Reload. With its sinister vocal phrasing, it’s sure to be a live favourite, once again seeing Hetfield revisit Lovecraft’s works for lyrical inspiration. “Here Comes Revenge” is one of the more energetic songs, with an anthemic refrain and the sort of twisted, angular riffing that could only have come from the right hand of Hetfield. Another contorted riff drives the pulsing march of “Confusion”, a multi layered mini epic with some great vocal harmonies in the chorus. “Halo on Fire” has been described as the ‘ballad’ of the album, and I guess it is the closest thing you’ll get to something like “One” or “Sanitarium”, but only due to the contrast between heavy and light sections. Hetfield shows he’s more than capable of carrying a tune as the song slowly develops and reaches a euphoric crescendo with some magnificent guitar harmonies.
For all the quality on offer however, the album is not without its problems. It clocks in at around 77 minutes, which is not an unusual length for a Metallica album. However, on initial listens, the album is a bit of a slog, with the general lack of variety in song tempos being a problem (particularly on the second disc). That’s not to say the band don’t mix the dynamics or tempos up, but many of the songs stick to mid paced territory. Whilst repeated listens will reward patience, some may be put off by their first few spins. The songs are not immediately rewarding either, with nothing jumping out the way “That Was Just Your Life” or “The Day That Never Comes” did on 2008’s Death Magnetic. It’s the sort of album you slowly chip away with each listen, gradually unravelling more depth and quality every time. It would certainly benefit from a song or two being cut, as well as a track list rejig, to help it flow better and starve off potential boredom. “Am I Savage?” and “Murder One”, whilst passable enough, would be best suited to the chopping block; neither living up to the billing of the songs before or the mighty closer after.
It’s pleasing to say that, from a production standpoint, Metallica have learnt their lesson from Death Magnetic. As good as some of the music was on that album, the sound was an abomination; completely brickwalled from front to back. The opposite seems to be true of Hardwired… to Self-Destruct, which has a crisp, clear sound. The guitar tone is relentlessly heavy, underpinned by thick, rumbling bass grooves, all punctuated by a lively drum sound. Ulrich’s performance is par for the course these days, providing steady, generic beats with an adventurous fill here or there to counteract the occasional over reliance on the snare. The slightly off kilter rhythms of “ManUnkind” is the only exception; Trujillo’s input likely influencing the looser approach the track has. Hammett’s lead work is accomplished and well played, but it lacks the exceptional melodic phrasing he is capable of. He has admitted that all of the lead work was recorded off the cuff, and whilst it doesn’t sound out of place, you can only think how some of the songs might’ve benefitted from more thought out solos. It’s good to hear Trujillo’s playing nice and clear in the mix, proving what a monstrous asset he is to the band. Hetfield has previously been discussed, but it’s worth reiterating just how good he is on this record.
It’s difficult to assign a score to this one. It is a highly enjoyable album that only improves with each listen, with more concise compositions than those found on the slightly scattershot Death Magnetic. It would certainly justify an eight out of ten. In the grand scheme of Metallica’s discography however, it sits alongside Metallica and Load as a second tier album that doesn’t reach the dazzling heights of their golden ‘80s material. It’s a pretty good amalgamation of the entire Newsted era, with a bit of Death Magnetic and a few nods to idols such as Iron Maiden, Black Sabbath, Thin Lizzy, Diamond Head and Mercyful Fate also thrown into the Metallica melting pot. It all adds up to a mighty fine effort that will please the majority of the Metallica hordes. So yes, an eight will do (one point for every year they made us wait).
Rating: 8/10
Highlights: “Atlas, Rise!”, “Moth Into Flame”, “Dream No More”, “Confusion”
Band links: Facebook, Official Website
