Kirk whacks in two solos to really get his money’s worth, but this really could be much tighter and shorter. With militaristic marching drums, it’s a much slower affair than what we’ve heard previously and eases us into the more ‘progressive’ portion of the album.
Moving onto the second disc, it’s not quite the gigantic statement of intent that Hardwired was. However, it does end up getting a little muddled, with the muted verses not quite interlocking with the various kitchen sinks thrown into the mix. Much slower, and conjuring images of a candlelit vigil, it’s still very much Metallica with Hetfield’s croon acting as a palate cleanser after the five-tracks of mayhem. Although, it does get bonus points for the constant referencing of Cthulhu.
It stomps around like Godzilla just stubbed his toe and packs some serious chug, but like the majority of the album, Kirk’s solo is a bit samey – and the eventual crescendo doesn’t really go anywhere. Opening with a blatant homage (or even ripoff) of Sad But True, the dirgey, sleazy track is dripping in whiskey like it’s spent all day rolling up and down the Sunset Strip.
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