New Metallica album coming out November 18, 2016 -- Hardwired..To Self-Destruct
 

Who else is going to download it on Napster? I'm there, baby.


https://metallica.com/blog/news/4291...-november-18-2



<----missing Lulu

I'm surprisingly optimistic about this. I won't keep my hopes up, but it might not suck.

The song's actually okay. Nothing special, but it's alright. Not sure why there's already so many people crying. It's like they just want it to suck and are predestined to hate it. Like, sure, I'm not expecting much, but at least be open to the possibility of it not being awful.

It'd be cool if they went back to their roots of making music that rose above "not awful" though.

You know, I'm not excited, I'm curious. I really hope if the rest of the album is at least like load and/or reload. Not amazing, but a fun jammer.

People aren't happy unless they have something to bitch about.

I'm hoping that's what this album is. But again, I'm being optimistic, but cautiously.

From what I've heard so far, I don't have high hopes that it'll be good. Sounds like it'll be not awful but I'd say the same of St. Anger and Death Magnetic.

The short clip from 2:07 onwards in the album trailer at least sounds a bit more interesting than the lead single. I don't know though. A major problem with Metallica in my opinion is that they tend to write excessively bloated songs these days. The upcoming album is 80 minutes, 2 discs, 6 tracks per disc. Do the math...
I'm fine with other bands writing long songs, but metallica don't know what to do with those extra minutes any more except just play all the riffs 4 times more than necessary and add a ton of hamfisted transitions.

Master of Puppets says you're wrong.

That's why I said "these days". On the St. Anger, Death Magnetic/Beyond Magnetic and Lulu albums, plus that damn Lords of Summer song, those kinds of interesting musical passages that keeps Master of Puppets afloat are nowhere to be seen. I'm pretty sure Kirk Hammet forgot how to play melodies with his guitar, too.

Accurate as ****, well put.

Oh! I agree with you then.

I'd be surprised if I didn't love it. I've pretty much loved everything they've done, including St. Anger and even Lulu.

No kidding.

No. Seriously.

I think that St. Anger gets entirely too much flak (might be a nostalgia thing), but love?

That's just unethical.

From a production standpoint, I hate it. The album could of been great.

That makes me wonder, did they ever have good sound quality? The classic albums are passable, but they're nothing to write home about in that sense. The only time I think the production works is with Kill 'Em All, and that was basically done in a lofi way on accident.

Well, the thing is that some bands just can't have good production. Metallica is at their best when they have low production. Take Master Of Puppets for example. It has low production quality, because it's very spacious in sound. But then you have death magnetic, with nearly perfect production but it seems to ruin the songs. As good as Metallica is, they're songwriting doesn't work for over-production.

Nononono you gotta be pulling my dick here come on man stop ****in' with me, seriously dude.

When I say good production, I mean the production that best suits the music so it could either be lofi or hifi. I don't think they've ever achieved quality in that aspect tbh.

Haha.

I always loved that drum sound, too. (And I'm a drummer. Well and a bassist and keyboardist.)

I've had a particular fondness for tightly-tuned, clangy, wide-open snare drums since I was a kid. Charlie Watts used to use a clangy snare a lot, but a lot of jazz players have used that sound, too.

I once saw Lulu in a record store for $50, is it because that many people want to own it ironically or am I missing something?

Before or after Lou Reed's death?

I usually love their production.

I like the production on And Justice for All, too, although I wouldn't have minded the bass being turned up a bit in the mix. However, that album has such a unique sound to it that adds a lot to the tunes.

My production philosophy is basically that production should be approached as "its own instrument." Kind of like coming up with interesting synthesizer patches that have a lot of musical value. I'm not at all fond of approaches that approach production in a more "clinical" way, where everything has to be at certain standard, relative levels in the mix, EQ'ed in typical ways, be necessarily "clean"-sounding, etc. Producers should experiment with timbres and tackle each project with a clean slate, where they're forgetting about norms and focusing on creating interesting sounds that serve as an additional artistic element shaping the whole.

What I always found weird about Lulu was all of the Lou Reed fans who were dissing it.

I could understand people who were pretty exclusively rock/metal/Metallica-type fans having problems parsing it, but Lou Reed fans shouldn't have been so shocked by anything he did. After all, it's not like Reed hasn't done a bunch of experimental, outside stuff and/or made a bunch of unexpected moves in his career.

I agree on this 100%.

Ahhh, after. Didn't even really think about that.

<Lou Reed fan listening to Lulu:> "Gah! My ears! That's way too weird, raucous, 'arty,' chaotic . . ."

<puts on "Sister Ray" followed by Berlin, The Blue Mask, The Bells, The Raven, a bootleg recording of Lou with Laurie Anderson and John Zorn, and tops it off with Metal Machine Music>

boring same ol ****


I give the song credit tho it could make for a good workout tune ....... meh


but man lars is like the worst drummer ever hes not creative at all neither are the guitars much these days either but when u combine that with lars its like ...ughhhhhhh

It sounded like people trying to experiment with ideas that they don't have yet.

I like Lars' drumming a lot normally, and sometimes he's one of my favorites. It seems ridiculous to me to say that his work on an album like And Justice for All isn't creative. He's like the Ringo Starr of metal on that album (which is a good thing; Ringo was a fantastic drummer, with a very unusual approach). Unless you're just talking about the tune I posted from the new album.

There is no way that you're not trolling.

could someone explain to me how Lars is a "bad drummer"

Haha--I said when I first posted in the "unpopular opinions" thread that I could just post there all the time.

That's typically from folks who think that good drumming, especially in a metal context, is being able to play stuff like 32nd note @ 140 bpm "blast beats" (with feet playing 32nd notes) more or less robotically, as if gymnastic/track ability is what makes a good musician.

His drumming is cheesy and too mainlined. They might as well just use a metronome and have a guy at the ready for the occasional fill. I typically don't go mad over drummers who keep the beat steady on a single drum (as opposed to diversifying across the kit while maintaining the same beat).

I don't know what "cheesy" and "mainlined" would amount to for you, exactly, but the rest of your comment doesn't really make sense given what he plays on tunes like, say, "And Justice for All" or "Harvester of Sorrow."

What made Ringo unique was that he was left-handed but played drums right-handed.
I can't say anything bad about Lars cause I refuse to listen to Meatillica or other mainstream rubbish.

Harvester of Sorrow depicts what I described perfectly. He also doesn't live up to the rest of the band (apart from Hammett's wah pedal), he just seems to do the bare minimum of what's required of him, or at least that's what it sounds like to me.

And the metronome comment seems particularly odd, because Lars doesn't at all have a metronomic sense of time on a fine-grained scale. He rather has a very unusual, quite loose sense of time that ebbs and flows in its details similar to Ringo and Carl Palmer, say. That's one of the things I like about him a lot. That doesn't mean that he doesn't keep steady time on a broader scale, but it breathes.

OMG what a fascinating pointless factoid!