Heavy/Death Metal

Metallica Death Magnetic (Very High Quality 320kbit)

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Torrent info

Name:Metallica Death Magnetic (Very High Quality 320kbit)

Total Size: 158.87 MB

Magnet: Magnet Link

Seeds: 0

Leechers: 0

Stream: Watch Full Movie @ Movie4u

Last Updated: 2010-08-03 00:36:45 (Update Now)

Torrent added: 2008-09-17 22:52:22

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Torrent Files List

01. That Was Just Your Life.mp3 (Size: 158.87 MB) (Files: 11)

 01. That Was Just Your Life.mp3

16.35 MB

 02. The End Of The Line.mp3

18.02 MB

 03. Broken, Beat & Scarred.mp3

14.71 MB

 04. The Day That Never Comes.mp3

18.17 MB

 05. All Nightmare Long.mp3

18.24 MB

 06. Cyanide.mp3

2.92 MB

 07. The Unforgiven III.mp3

17.81 MB

 08. The Judas Kiss.mp3

18.35 MB

 09. Suicide & Redemption.mp3

22.81 MB

 10. My Apocalypse.mp3

11.49 MB


5.33 KB

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Torrent description

Metallica - Death Magnetic (2008) [Retail]

Artist ......... : Metallica
Album .......... : Death Magnetic
Genre .......... : Heavy Fuckin Metal
Source ......... : CD
Year ........... : 2008
Ripper ......... : Exact Audio Copy V0.99 prebeta 3 Secure
Codec .......... : LAME 3.97
Version ........ : MPEG 1 Layer III
Quality ........ : Extreme, (avg. bitrate: 287kbps)
Channels ....... : Joint Stereo / 44100 hz
Tags .......... : ID3 v1.1, ID3 v2.3
Information ... : Ripped with +102 read offset
(verified with AccurateRip).

TRACKLIST: Metallica - Death Magnetic (2008) [Retail]

01- "That Was Just Your Life" – 7:08
02- "The End of the Line" – 7:52
03- "Broken, Beat & Scarred" – 6:25
04- "The Day That Never Comes" – 7:56
05- "All Nightmare Long" – 7:57
06- "Cyanide" – 6:39
07- "The Unforgiven III" – 7:46
08- "The Judas Kiss" – 8:00
09- "Suicide & Redemption" – 9:57
10- "My Apocalypse" – 5:01


In the Eighties, thrash metal wasn't a scene, it was an arms race: riffs kept
speeding up, drum kits got bigger. But with 1991's 'Black Album', Metallica
opted for unilateral disarmament, slowing their tempos, shortening their
songs and smelting their chugging guitars and piston-powered drums into
armor-plated pop hooks. After that, the band rushed from one reinvention to
another, starting with the Southern-rock infusion of 1996's Load and
culminating in the muddled, bizarrely produced group-therapy session of
2003's 'St. Anger'. No longer: 'Death Magnetic' is the musical equivalent of
Russia's invasion of Georgia — a sudden act of aggression from a sleeping

Just as U2 re-embraced their essential U2-ness post-'Pop', this album is
Metallica becoming Metallica again — specifically, the epic, speed-obsessed
version from the band's template-setting trilogy of mid-Eighties albums:
'Master of Puppets', 'Ride the Lightning' and, especially, the progged-out
'...And Justice for All'. That much is clear from the 90-second mark of 'Death
Magnetic's' first track, "That Was Just Your Life," where the band unleashes a
barrage of James Hetfield's dutta-duh-duhnt riffing and Lars Ulrich's
octuple-time double-bass-and-snare smashing. That long-vanished sound, as
essential to Metallica as variations on the "Start Me Up" riff are to the Stones,
is all over the album —you wonder how these fortysomething dudes are
going to handle playing it live night after night. (Enter chiropractor.)

'Death Magnetic' marks the group's split with producer Bob Rock, who helmed
every Metallica album from 1991 to 2004 and pushed them toward concision
and immediacy — until 'St. Anger', when he seemed to throw up his hands
altogether. (As the 2004 documentary 'Some Kind of Monster' demonstrates,
Rock deserved credit for getting any music at all out of a band determined to
self-destruct.) New producer Rick Rubin shoves Metallica in the opposite
direction: Half of 'Death Magnetic's' tracks are over seven minutes long, with
song structures that are not so much "verse/chorus/verse" as "long
intro/heavy jam/verse/even heavier jam/chorus/bridge/wild solo/outro."

This feels like the right move for an era where 'Guitar Hero' is the new rock
radio. (Appropriately, the full album will be downloadable for 'GH' play.) And
it's not as if Top 40 stations were going to slip in Metallica between Chris
Brown and the Jonas Brothers, anyway. These songs rarely feel too long: At
their best, they combine the melodic smarts of Metallica's mature work with
the fully armed-and-operational battle power of their early days. "The End of
the Line" is a freight-train rocker with a ricocheting riff and lyrics about a
doomed, drug-addicted star. It builds to a frantic guitar duel between Kirk
Hammett and Hetfield, a wah-wah-crazed solo and, finally, a bridge that feels
like an entirely new song. And the spectacular "All Nightmare Long" — a
thematic sequel of sorts to "Enter Sandman" — combines relentless 'Master of
Puppets' guitars with a 'Black Album'-worthy chorus.

'St. Anger' was a misguided attempt to recapture the band's mojo by
sounding "raw" — but 'Death Magnetic' manages to sound huge, polished and
tough. The musicianship feels thrillingly live throughout, and nimble new
bassist Robert Trujillo helps, even though he's mostly heard as a distant,
ominous rumble. (Has there ever been a more bass-averse band in rock?)

There's supposed to be a lyrical theme here — something about death — but
it's hard to discern. After expanding his lyrical palette on previous albums,
Hetfield is now so determined to re-metallize that he pushes toward
self-parody: "Venom of a life insane/Bites into your fragile vein," he barks on
"The Judas Kiss." The "One"-style half-ballad, half-thrasher "The Day That
Never Comes" appears to be yet another tale from Hetfield's rough
childhood, complete with the awful pun "son shine."

But if you ignore the lyrics, 'Death Magnetic' sounds more like it's about
coming back to life. Everything comes together on the fan-favorite-to-be
"Broken, Beat and Scarred," which manages to channel the full force of
Metallica behind a positive message: "What don't kill ya make ya more
strong," Hetfield sings, with enough power to make the cliché feel fresh. The
aphorism he paraphrases happens to come from Nietzsche's 'Twilight of the
Idol's, which is subtitled 'How to Philosophize With a Hammer'. Metallica's
philosophizing may get shaky — but long may that hammer strike.

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