In today’s ever-changing world, consumers of most commodities keep asking for a newer feel to the product they are buying. Yet, in the case of popular music, it seems that Marginal Utility works backwards. This fact is particularly relevant to Rock music, whose present-day fans are in a continuous state of nostalgia and one often comes across phrases like “Rock is dead” and “If rock existed”. Whenever a rock band has tried to change its style in accordance with the new technology and equipment used by artists of other genres, it is severely criticized by rock fans for “adulterating” its music.

Arguably the biggest victims of such criticism are Metallica. Having originated in the early ‘80s, when thrash-metal was a booming industry; Metallica has suffered from public scorn whenever they have tried to mix their music with a less orthodox sound. This has been happening ever since they shortened their tracks and offered a more mellow sound in The Black Album, and reached its peak ten years later in 2003’s St. Anger, which was termed their most commercial album by far.

It was, therefore, only fair to fans that Metallica should finally give them exactly what they want; and in comes Death Magnetic. In this album, the band goes back to its early ‘80s roots with pure heavy-metal music that leaves a resounding ring in the listener’s ears.

The band’s true source of attraction for many, the lead guitarist Kirk Hammet returns with his melodious solos, which seemed to be absent in the band’s last offering, as he works his magical fingers across the fret-board like the maestro that he is. Producer Bob Rock, of St. Anger fame has been replaced by Rick Rubin, known for producing a more orthodox rock sound in the past. Another important factor that has contributed to the original metallic sound of the album is the latest addition to the band, bass guitarist Robert Trujillo of Ozzy Osbourne fame. But what will probably make the band benefit the most, is the chance to release the album as a download for Guitar Hero III: Legends of Rock.

The music in this album is ideal for the game, because of the length of each track and the complexity of the guitar riffs. The shortest track in the album is more than six minutes long; while the longest, Death Magnetic Suicide & Redemption, is an instrumental that is as long as it is deep, with playing time well over ten minutes of truly engaging music.

Along with the swift guitar riffs and drum beats with variable tempos, the band has also thrown in a few deep ballads here and there, including the first track, The Day That Never Comes. Fans who are already have the album are busy comparing the riffs and solos with Metallica’s initial releases and many admit that some of the singles in this album sound even better than the favorites of that time.

It is not hard to notice that front-man James Hetfield takes the role of a conductor for the rest of the band, as his death-oriented lyrics act as musical cues to the rest of the band members. The words related to physical harm (blood, crush) seem to signal Lars Ulrich to start banging on his snare, while the religious ones (Judas, towers, apocalypse) prompt Hammet to switch to distortion mode. But be it cues or story-lines, Hetfield’s lyrics are less common-place as he truly enjoys uttering them in his trade-mark deep and dark voice.

All in all, besides being an ideal album for one of the most popular computer games of the times, Death Magnetic is a chance for the band members to reclaim their long lost respect as one of the pioneers of Heavy Metal music.