No old man. All mine. I was just trying to have a conversation via forum - you know - the media where written word is the only communication tool. :smartypantsemoji: I'm sorry if I misjudged the audience. :doublerolleyeswithawinky: That's how we talk in Kent (wait for it) in full sentences #yeahIsaidit #ohsnapUdi'nt
It roughly translates to "it's like... aaaam... cool, but James sounds like a pimply kid, the songs go on forever without any changes, Lars is rumbling on like a drum machine on timer and the whole **** sounds nuthing like Master Of Puppets, those were the days, innit?".
Amazing album.
Welcome back Metallica.
Now hurry up and announce some UK tour dates!
ok, if anyone's got a spare minute could you have a quick look around and see if you can spot v0n's dummy?
thanks in advance.
If he writes like a music critic he must think he's a music critic so it's mandatory to type like that. He probably loves it, I mean how can you not like this, I've been waiting for this since the 80s.
I'd love them to go back in the studio and re-record Kill Em All so it sounds like this new album, that's probably why the 3cd version has got all old live tracks on it.
He probably loves it, I mean how can you not like this, I've been waiting for this since the 80s.
I do love it. It's the best thing they've done since nineties.
Good stuff:
Recording. Adele's producer engineered and produced this thing. True story. And it's easily the tightest sounding 'tallica recording since Master Of Puppets. For the most part the old guitar harmonies are back, mid tones are back, you can almost hear the twang of the reversed intro to "Blackened" in every single song. I don't know why they hate their basists so much as to loose them in the mix all the time, but even that works this time around.
Riffage. Very good riffs! Maybe we notice them more because the way they are recorded - or maybe because... this is the first record since nineties where Hammett was just a passenger. No writing credit at all, no writing riffs, just wah-wah solos input. Hate to say it, but if it works...
Homages. Anyone else expected some sort of victorian graveyard story in Bruce Dickinson's voice after the intro to ManUNkind? We see the return of the Cthulu, then a superb come back to nightmares of Sandman marked by drum pattern borrowed from the original, this record is full of small hidden gems like this. Wait. Are they tying loose ends? Are we listening to some sort of epitaph record? Nooooo...
Bad stuff:
I'll say it again - break the forking song into something interesting every now and then grandads. It's what made metallica Metallica. 'tallica took what NWOBHM bands used to do with breaking a piece from gallopping riffage into melodic overture with clean strumming and solos in the middle and then took it to another level ("One", "MoP") - they would change melody and rhytm several times over, sometimes returning to original theme, sometimes dumping it completely. Not any more. Do it. It was righteous. Do it do it do it.
Filler. Yup. I already said majority of these tracks would benefit either from tempo change in the middle or from shortening running time to under 3m30s and it's true. "Halo on Fire" could easily be 3m shorter and benefit from it, half of "Dream No More" could easily be dumped and the song would be stronger for it.
You can hear "the writers block" at some point too - quarter through the second CD and it sounds like B-side of EP - darn, not everything that sounds cool as a sound byte needs to be fully developed into 8 minutes of non descriptive, repetitive, chugga-chugga broad plowing (and someone screaming "I am a stool, I am a chair, I am a table" at the top of their vocal chords in the background). At least quarter of the riffs and tunes on this record only deserved to be just short rhytm breakers, syncopes and cool bits in other songs - to the benefit of the rest.
You can scream at me now but guys - you will entertain things like Maidenish intro to "Am I Savage?" over and over this weekend but two weeks from now, you will drop 40% of this record and leave only good bits. "Murder One" ain't gonna make it, "Dream No More" will probably be retired etc. And you will remember these words and you will hate me even more.
I do love it. It's the best thing they've done since nineties.
Good stuff:
Recording. Adele's producer engineered and produced this thing. True story. And it's easily the tightest sounding 'tallica recording since Master Of Puppets. For the most part the old guitar harmonies are back, mid tones are back, you can almost hear the twang of the reversed intro to "Blackened" in every single song. I don't know why they hate their basists so much as to loose them in the mix all the time, but even that works this time around.
Riffage. Very good riffs! Maybe we notice them more because the way they are recorded - or maybe because... this is the first record since nineties where Hammett was just a passenger. No writing credit at all, no writing riffs, just wah-wah solos input. Hate to say it, but if it works...
Homages. Anyone else expected some sort of victorian graveyard story in Bruce Dickinson's voice after the intro to ManUNkind? We see the return of the Cthulu, then a superb come back to nightmares of Sandman marked by drum pattern borrowed from the original, this record is full of small hidden gems like this. Wait. Are they tying loose ends? Are we listening to some sort of epitaph record? Nooooo...
Bad stuff:
I'll say it again - break the forking song into something interesting every now and then grandads. It's what made metallica Metallica. 'tallica took what NWOBHM bands used to do with breaking a piece from gallopping riffage into melodic overture with clean strumming and solos in the middle and then took it to another level ("One", "MoP") - they would change melody and rhytm several times over, sometimes returning to original theme, sometimes dumping it completely. Not any more. Do it. It was righteous. Do it do it do it.
Filler. Yup. I already said majority of these tracks would benefit either from tempo change in the middle or from shortening running time to under 3m30s and it's true. "Halo on Fire" could easily be 3m shorter and benefit from it, half of "Dream No More" could easily be dumped and the song would be stronger for it.
You can hear "the writers block" at some point too - quarter through the second CD and it sounds like B-side of EP - darn, not everything that sounds cool as a sound byte needs to be fully developed into 8 minutes of non descriptive, repetitive, chugga-chugga broad plowing (and someone screaming "I am a stool, I am a chair, I am a table" at the top of their vocal chords in the background). At least quarter of the riffs and tunes on this record only deserved to be just short rhytm breakers, syncopes and cool bits in other songs - to the benefit of the rest.
You can scream at me now but guys - you will entertain things like Maidenish intro to "Am I Savage?" over and over this weekend but two weeks from now, you will drop 40% of this record and leave only good bits. "Murder One" ain't gonna make it, "Dream No More" will probably be retired etc. And you will remember these words and you will hate me even more.