BY THE END of the 1980s, heavy metal — and, in particular, thrash metal — had become something of a musical arms race. “It was all about impressing the other bands with your heaviness, with your speed, with your technical prowess,” Metallica frontman James Hetfield recalls to Guitar World. “Everyone wanted to come up with the heaviest riff on earth or the fastest song possible.” Given that Metallica had already spent most of the decade gleefully pushing the boundaries of heaviness, speed and technicality on each of their first four recordings — 1983’s Kill ’Em All, the following year’s Ride the Lightning, 1986’s Master of Puppets and 1988’s …And Justice for All — they decided that, for their fifth release, they’d try something a little different. “The next album,” guitarist Kirk Hammett says, “was going to be shorter, simpler songs.”
That album, officially released August 12, 1991, as Metallica, but better known as the Black Album, was, true to Hammett’s words, characterized by more concise and straightforward compositions, in particular when compared to its exceedingly proggy predecessor, …And Justice for All. But it was also much, much more.
هذه القصة مأخوذة من طبعة November 2021 من Guitar World.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة November 2021 من Guitar World.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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