Now this, this is going to be an interesting one. Thrash metal gods and rock and roll legends Metallica are back with a brand new full length album 72 Seasons. After a long break since 2016's Hardwired To Self Destruct, which garnered mixed reviews from critics and fans alike, their new record made over lockdown has finally hit shelves and streaming platforms after the release of two singles, Lux Æterna and If Darkness Had A Son. Clocking in at a frankly eye-watering hour and seventeen minutes long, it's time to finally ask, do Metallica age like fine wine, or have they finally washed up like so many before? Here's my track by track breakdown and review:
(72 Seasons Album Art - Metallica 2023)
1."72 Seasons" 7:39 - The opener to this record just oozes Metallica in every way. The splashy high hat and crushing guitar meld perfectly with the bouncing bassline to create a nice bit of tension before the real body of the track begins to be built. It's a raging thrasher, combining some brilliantly rapid drums and a relatively easy picked riff that cuts right down the centre of the instrumentation. Hetfield sounds as brilliant as he always does, the gentle strain on his vocals giving the lyrics the same signature drive and attack we expect, and were left to crave after their last record. It's full of great moments, and opens this record with a triumphant return to form that proves even after all these years, this band never stopped or slowed. However, I feel at some point, another conversation may need to be had about those drum sounds from Ulrich, because after a while, that open hi-hat does get a touch grating.
2."Shadows Follow" 6:12 - This track opens again with a nice slamming drum loop with accompanied guitar and bass before once more launching into those same signature sonics. A little similar to the track before it in its makeup, sure, but nonetheless another testament to the sheer talent of the four. The lyrics have a brilliant flow to them through the stressing of the words and the rhymes, nice one Hetfield, and the guitar tone is pretty top notch too, as the song grinds on you realise more and more that this Metallica machine is still perfectly well oiled. The song takes a nice turn with some more spaced out drumming, giving the guitar nice room to breathe and the lyrics really speak for themselves, it's made cleverly, runs brilliantly, and has a great little solo worked in there, and when it's Kirk Hammett bending those strings, you know that shits gonna talk, and most definitely scream, and by god it does exactly that.
3."Screaming Suicide" 5:30 - Something this song does nicely is introduce a new element to this record that some may not be expecting. Although at times Metallica tracks may be themed a little strangely, either pinpointing a singular theme or broadly stretching over a few, this song helps bring the more internal feelings from Hetfield to fruition. It seems like he's been dealing with some demons, punctuated by his readmission to rehab only a few years ago. This takes this entire song from just another brilliant thrash rager, with punchy drums and screaming guitars, to a rager with three dimensional depth. Not only is it flexing the instrumentation of this epic band, but it also proves that their lyricism and theming is really maturing under its own steam. You can feel the emotion on this one, and it's glorious, and badass. More amazing guitar work and punchy drums really punctuate this one. No complaints, more great stuff.
4."Sleepwalk My Life Away" 6:56 - As far as intros go, it's more of what they know on the opener to Sleepwalk My Life Away, which isn't a bad thing. There's a killer guitar riff placed over yet more tense percussion and bass, before once again throwing itself into a more cymbal based beat, and then into the first verse. The riff to this one is very Enter Sandman - and you know what it's a nice little motif that pays somewhat homage to where they came from. It's another headbanger, with some awesome slamming guitar, choppy bass licks and enough heavy hitting drums to kill an orchestra twice over. There's this brilliant feel to these tracks as they grow and adapt, it feels like every single note, every hit of the snare or the hat has been placed there with a purpose. It's some brilliant no nonsense rock music - and that's what Metallica have been doing so right on this record. Also, that guitar solo? Holy shit! Kirk Hammett, you bloody magician!
5."You Must Burn!" 7:03 - Look, I totally get if this whole intro system isn't your thing, even something in the back of my head at this point was going 'sonically amazing sure, but c'mon guys', but come on, this one WALKS. It chugs perfectly, creeping along with undeniable swing and razor sharp precision, this song is an undeniable highlight. Laden with signature vocals from Hetfield, dripping in aggression, this song shows Metallica have their feet firmly placed in two thresholds, in their roots as thrash metal gods, but also within this new realm of maturity in their sound. This song is seemingly a take on cancel culture, taking on themes of duplicity and falsehood, while lyrically debating who are you if 'the perfect don't want you around'? Full of some great little moments, especially that poignant little breakdown, this song is a mean reminder that this band have no intention of slowing down. More insane guitar squeals onto this track in it's latter half, and I know I keep saying this, but Kirk Hammett should be hailed as one of, if not the greatest lead guitarist in rock and metal. Big statement, but hear this solo, it's kick-ass.
6."Lux Æterna" 3:26 - Now, this one came out a while back as a single, and when I listened to it I didn't really have an opinion. It's a more rapid opener in comparison to the other tracks, and shoots from another choppy guitar solo into the main verse and barrels into a chorus. The song was actually pulled up by fans, claiming that there was yet another issue with Lars Ulrich's drum kit's sound. After the well known St Anger debacle surrounding the tinny resonance of his snare, now his kick drum was called into question, noted to have some off kilter high end resonance, with British punk rocker Frank Turner tweeting 'New Metallica
song is pretty damn good. What's up with the kick drum sound tho? High end ring to it, like 16k or something. They got the snare sounding good now tho.' Even so, this song is another well put together rollercoaster, clocking in as the shortest track off this record. It's all parts violent, melodic and all things Metallica, just condensed into a tiny little track that's representative of it's subject matter. According to lead singer James Hetfeild this song is all about being at a live show, being part of an audience, and the energy of performance, and I see it, and feel it throughout this track.
7."Crown of Barbed Wire" 5:49 - Yet another foreboding opener on this one, more suspenseful percussion and creeping guitar that blows into another slamming opener. I like how this one has almost a bluesy feel to it, Hetfield has an undeniable drawl to his lyricism, the guitar bends definitely have a jazzy feel to them in the chorus sections before the percussive fills draw the instrumentation straight back to the metal roots of the track. There's also a lot of imagery in this one, tackling ideas of materialism, domination and empire, whilst also riffing on Jesus' famous crown of thorns throughout. More brilliant guitar solos add that flair I'm coming to expect from this record as it barrels into it's finale, and bleeds from blues back to metal again. It's a modern take seemingly on an old paradigm, and how else can I describe this record than anything other than just that. Metallica are this proverbial crown of barbed wire, doing the same old thing, just cutting deeper than before.
8."Chasing Light" 6:45 - More percussion, and more guitar, who would've thought, but it's done so well I'm not all that annoyed at this point, even eight songs in. I love how those intros can change on a dime, and just shoot into something completely different, and that's how your introduced to this one, expectation? Boom, reality. I think this song has a lot to offer lyrically, and once again, the frontman Hetfield is drawing on his recovery from addiction, and how in chasing his dreams, or in this songs case 'light' there were setbacks that he faced. The focal character seems to be trapped in a 'cage' and suffering from 'withdrawals'. The lyrics continue to plead, claiming that 'he's just a boy!' - it feels emotional, it feels raw, this song writing feels so tangibly real. It rotates around a brilliant bass riff that just goes and goes, shout out to the insane Robert Trujillo for that one, and once again grows and expands as only a song on this record can, shooting further and further down to yet another solo and percussive breakdown. This one has really grown on me as I've listened, and is definitely a highlight of this record.
9."If Darkness Had a Son" 6:36 - As far as marketing strategies go, releasing this one via Tic Tok was a left field move, but hey, whatever floats your boat. This was also released as a single, so I've had a little longer to sink my teeth into this one. Once again a strong opener, drawing you in before violently chucking you into it. Again, this one has semantics of temptation, reclamation and absolution, drawing once again from Hetfield's troublesome past. Something this song oozes is fun. No, not in the themes or instrumentation, they're very much still on brand, full of strong guitar, weaving basslines and some nice percussion - but you can tell the band is having fun with this one, and to be honest this entire record. There's a joy in the playing and the vocals that you can't quite describe. This one also has a really cool chorus, that moves from being perfectly fluid to brilliantly choppy in a heartbeat, yet another testament to this bands insane skills. I talk a lot about earning guitar solos, about whether the track leads up to it naturally, if it flows right and isn't just oddly tacked onto a song (I'm looking at you Patient No.9). Every Metallica song seems to know this, and always activates the solo at the perfect time, making every single lick impressive.
10."Too Far Gone?" 4:34 - This one is one hell of a track. It catches you instantly with its aggression, it's stripped back guitar bleeding into yet more impressive drumming. It's another one that really draws from it's lyrics, making the stunning instrumentation, and it's layers the real cherry on top. At times it sounds like an Iron Maiden track, at others, it has the meaty riffs and slamming pace of something we've come to know from this four piece. It's new, it's fresh, it slams into breakdowns with ease, before blasting into a completely new tempo and style. It's fast, full of lovely doubled guitar with superb tone and a bassline you can really sink your teeth into. But like I said, this one really shines in its vocals and lyrics. It feels down to the bone, stripping back the metaphor and double meanings to very real, very raw emotions. The chorus especially sounds like pleading, the verses reasoning, can I survive this? Can I make this change in my life or am I in too deep? I think it's painfully relatable, and in a song this flashy, you can't help but feel it.
11."Room of Mirrors" 5:34 - There is apparently a tradition of Metallica closing out their records with a classic thrash anthem, and this is nothing short of that. More rapid guitar, more heavy speed percussion, and some brilliant extreme vocals, this is Metallica down to the bone. It's a little less complex sure, but it's certainly not lacking by any means. There are still plenty of good moments, a great little solo, more brilliant driving force, but the lyrics fall a touch flat for me in comparison to some of the other tracks on this record, but this keeps the tempo raised for the final song, and brings back the motif of the doubled guitars really effectively. It's tight, well done, and keeps this record trashing along, focusing on the more melodic parts of their makeup that makes it a nice distinct change from the other songs on 72 Seasons.
12."Inamorata" 11:10 - Okay lads, I'm all for an epic or two, I love some of the longer Iron Maiden tracks that clock in at a semi-similar runtime, but holy shit. Eleven minutes? The issue I have with some longer efforts in the metal sphere is that it feels like the insane amount of minutes drag, they aren't all used to their full potential by any means, there's something missing, an opportunity wasted. Sometimes, songs are best left at the usual 3-5, but this one? You know what, I think Metallica nail this one. Don't let its obscene runtime scare you off, it's a real treat of a track. It's an anthem, it tells a story, and one that grows and changes, and has this different flavour to it that is so unique in terms of this record. There's seemingly a narrative surrounding the breakup of a relationship, and the misery of the outcomes, and in turn, the subjects new partner is misery, and she's one they know well. It's another chugger, with yet more brilliant guitars, cut with distorted doubling, and another meaty bassline. Percussion is really tight again on this one, and once again, the solo is earnt, and burns slowly, almost lamenting in comparison to some of the more rapid solos on this record, but again it works. This is how you do an anthem. It strips itself back suddenly, leaving you with just a splashy hat and the bass before it gently builds itself back up again with wailing guitar. The vocal delivery in this section is also really interesting. There's no extremity to it, it's the cleanest I've ever heard Hetfield in all my years listening on and off to Metallica. It adds this softness and sincerity to the words 'Misery, she needs me, but I need her more'. It cuts deep, and once again utilizes the bands ability to build, and with his voice moving straight back into the signature aggressive bellow, we get treated to yet another slow burning solo before going straight back to that brilliant chorus. This is a ten minute treat for any Metallica fan, it's just sheer perfection from these guys. And, you get treated to a third Kirk Hammett solo on the way out. What a closer.
(Metallica - Image Courtesy of NME)
Overview: Wow. I think something that we needed, after a long time of receiving metal records that are 'love letters' to the genres the artists once thrived in, we needed an explosive return to form without the need to apologize afterward. This record did exactly that, not only does it shine in the ways that only a Metallica record can, but it goes above and beyond in that space, pushing the bands sonic boundaries in really compelling ways. Sure there are some shortfalls, to any outsider this is a daunting listen, and one that I wouldn't take kindly either, and I always think that albums should prosper from front to back just as much as they do in a playlist (it's the vinyl collector in me) and although I know I'll be returning to this one, I can see how some may be put off. And some of the writing may not stick in tiny instances, sure, but hey, that was one track that I found myself a little dissatisfied with. Out of 12 that's all but a clean slate. This one is a shining reminder that Metallica are the best at what they do, and on top of that, aren't afraid to keep their well oiled machine chugging into new pastures.
Highlights: Sleepwalk My Life Away,Crown of Barbed Wire, Lux Æterna, Inamorata
Rating: 9/10
Comments