Reviews

Metallica had already taken a massive risk with their 1991 self-titled album, and proved that if the material is strong enough - you can update your sound and not only survive, but actually thrive. Load took the stylistic changes one step further, moving from a classic metal sound to more of a southern rock flavoured alternative style. They are a band that always trusted their instincts, and again got it just right - creating an album that was a step forward in their development, but also an album that appealed the 'alternative nation' audience so fashionable at the time. Fans of older alternative bands like Red Hot Chili Peppers and Faith No More embraced them, as did fans of newer nu-metal like Korn and Limp Bizkit. That isn't to say a few feathers weren't ruffled, with many older fans of Metallica finally proclaiming this was too much of a stretch musically, and that isn't even mentioning the much publicised haircut and fashion choices thrown about in marketing photos at the time. For those fans that did persevere and continue to follow the band, they were rewarded with a album rich with groove and personality, something that they had not really been part of the Metallica make-up before. Frontman James Hetfield even loosened the reigns enough to allow guitarist Kirk Hammett to add rhythm guitar parts to the album, something that had never been done before. The two different styles of the guitarists weaved together to give the music room to reveal tapestry of harmonies. The album opens with the succinct 'Ain't My Bitch'. With a slower pace than the usual opener, and a jaunty bounce that moves the song along, this didn't feel like the epic opener that a song like 'Enter Sandman' was. It feels like someone has opened a window and let some light into a dark room, but the lyrics still reveal the darkness that light can't quite get to in the corners. '2 x 4' provides even more breathing room, and anyone not sure where this album is heading will work it out here. It has a massive bouncing groove, and the cynical and intelligent lyrics are the only things connecting the listener to where this band were a decade ago. 'The House Jack Built' slows things down to doomy chug, something Metallica have done many times in the past - but this is still very different. A morbid tale of the woes of Hetfield's addictions that would catch up with him very soon, it again showcases that although the musical edge of his writing has been deliberately dulled, his lyrics were still tight and ever meaningful. It is something that occurs throughout the album, with these lighter edged songs being weighed back down to the dirt with the heaviness of Hetfield's lyrics. 'Until It Sleeps', the world's first introduction via single of this new Metallica a couple of weeks before the album, tells of his mother's battle with cancer. 'Hero Of The Day' opens the album up yet further with an almost rock-styled, single ready, anthem. 'Bleeding Me' is a slow chugging monster, that only really shows it's underbelly on repeat listens. Monster is indeed the only word that can describe it. At almost 80 minutes, it is a long album, and for what heaviness is lost in the music it seems by mid-point has been replaced by a heaviness in emotion. The songs drip with a dark energy, like a sleeping giant slowly awakening, and it isn't until the acoustic country-tinged ballad 'Mama Said' that the mood feels like it lifts. Penultimate track 'Ronnie' has a bluesy riff that challenges the listener not to bob their heads, and it isn't until you realise that the song is about a mass shooting that the smiles leaves your face. The final track, 'The Outlaw Torn' is an epic weighing in at almost 10 minutes. On first listen it feels a sprawling dirge to self-depreciation, but only repeat listens reveal the majesty of the track. It is full of space and air, yet fills the head with mud and confusion. With some of the best guitar work of the album on display, it is a masterpiece that may well have been lost to time if the rest of the songs had not resonated with audiences. When listening to the album, leave behind the edgy photography and the silly outfits. Forget about the band wearing makeup and cutting their head. Even try if you will to forget anything they had done prior. With a clear and open mind this album is revealed as an amazing statement by a band that were willing to destroy their own popularity if necessary, because they were driven by their urge to evolve into something new. Whether it was successful or not lies in the eye of beholder, no pun intended.

Redemption time. 7 years on from their debut record that essentially blew away the Australian music industry with a bunch of teenagers putting together 11 tracks over 44 minutes would have them called the likes of 'Baby Nirvana' is something at the time the 'kids' could not have comprehended in a million years. Quite the accolade, as any teenager would stive for, mostly being popular, they rode the wave and produced more 'mature' releases if you can call it that. Freak Show for me was their pinnacle, but I'll leave that for another review. We have Neon Ballroom and then hit Diorama. Before a first listen I was happy if we had something similar to Neon, but there was that underlying narrative that Johns was looking to shift away from what made them famous. A shift from the 'cookie cutter' grunge sound to something he as a song writer can show that he is more than that. Neon gave us a hint. Diorama opened the flood gates. Let's start with opening track 'Across The Night'. No fan in their right mind would have expected this. And while it might have distanced some fans, it was truly the start of a transformation of the band. Hard to ingest to be honest, but apparently a song about his time at this point living in his home of Newcastle reflecting on his life and the struggles he has. We know now he was a troubled soul and, in some respect, should respect the fact he continued on. Re the album as a whole it is something that for me has limited throwbacks to their roots and more a shift to the orchestration direction Daniel was taking more interested. The composition with winds and strings from your typical orchestra are well woven into songs. I always wonder what Ben and Chris thought about this direction. From what I understand there was very little public presentation on John's plan for the band. If you take the blinkers off on what you would have expected from a Silverchair release, their lead single 'Greatest View' I really like. From there we have some enjoyable songs such as 'Without You' but it is 'Tuna In The Brine' that goes back to the old sound and makes me question if Daniel has ever moved on from the old sound. Chris behind the kit would be loving songs like this. Similar to 'The Lever'. However contrast this with the likes of 'Luv Your Life'. It's at a point where Chris can check out and grab some lunch and Ben can grab some grot from the streets to fill-in for him. For the fans I think we all agreed this was the beginning of the end for the band from what we know then as. All I can do is be thankful for what they had given us to this point, and we all move on.