![]() ![]() You only get one life, so it’s like our time on the planet is way too short to have that much willful limit of your own options.”Įager to further analyse the unwavering nature of rock’s most consistently prevailing gatecrashers, Clash’s Editor-In-Chief, Simon Harper, enjoyed a private audience with the four tenacious titans – James Hetfield: singer/guitarist, authoritative, jocular Lars Ulrich: drummer, impassioned, outspoken Robert Trujillo: bassist, realist, diplomat Kirk Hammett: guitarist, thoughtful, idealist – and began to navigate the complex web of their hardwired system.Ĭlash have never featured a metal band on the cover, but it feels like Metallica transcend the metal genre as cultural touch points of rock ‘n’ roll. “You gotta get out there and live,” he says of his band’s restless creative curiosity, “and if you don’t live then you suffocate. “There has always been this dichotomy about we’re sort of leading the cavalry, but at the same time, we’re not leading the cavalry the way that a portion of that world wants us to lead it,” Lars explains to Clash, “and so we’ve always been somewhat at odds – somewhat at odds, not at odds – and there’s occasionally been some friction there.” Fortunately, however, they did not give a flying fuck. Whatever move they made, Metallica couldn’t win. The ‘Load’ and ‘Reload’ albums in 1996 and ’97 were derided for straying too far from their thrash roots, but even in 2008, Metallica were accused of being too loud on ‘Death Magnetic’. ![]() Its success adds to the 100 million albums Metallica have sold to date, with this tour already racking up over $90 million – remarkable figures for anyone, let alone an impulsive heavy metal quartet that thrives on evolution and whose often unpredictable career choices thus far have been divisive, to say the least.ĭaring to push the boundaries of the restrictive metal genre, Metallica have always pursued a resolutely progressive path that has yielded some rather unexpected results, with almost every album stirring unrest in their following: in 1986, ‘Master Of Puppets’ was deemed too classical, 1988’s ‘…And Justice For All’ was too tinny, while the immense ‘Metallica’ (AKA ‘The Black Album’) in 1991 was considered too populist. They’re in town for the first date of the European leg of their WorldWired Tour, supporting 2016’s ‘Hardwired… To Self-Destruct’, an album considered one of their mightiest – and certainly their most cohesive in its vitriolic vision – of the last quarter-century. Thirteen years later, it’s an enlivened and positively constructive unit that Clash encounters atop a central Copenhagen hotel one golden August afternoon. ![]()
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