At ninth hour with fifteen minutes of the night, we would be dragged to the trepidating march of the final judgment. Suddenly, on stage would appear the four horsemen of the Apocalypse: war, victory, hunger and death. The rhythmic power that did not seem to be of this world would tear out, without fuss, a furious scream that still resounds in our souls. "Let it be written / so be it done / I was sent here by the one chosen to kill the firstborn of the pharaoh / I am the stealth death". No mercy, no scruples. The torches illuminate the chilling gallows. 30 thousand people, turned into vassals of death, raised their arms like inclement axes. The sacrifice was raised with the stanza: "Die by my hand / I crawl through this land / Killing the first man who was born." Participants in the murder, we hailed the banned end. Pleasant, we immerse ourselves in the dance of destruction: "Die! Die! Die! Die!" There is no escape for the condemned. The time stops. We came to the end with the cursed refrain: "I / control the midnight air, the destroyer / Born / Soon I will be there, deadly mass / I / I crawl down the steps and the floor, darkness / Blood / Door painted with blood of lambs, what will happen. " Before us the temple of pain was erected: Metallica. Made the initiation spell, only one question managed to escape in that darkness: would we be able to survive the magnetism of death?
Fireworks
Waiting for evil
We had to wait eleven years to enjoy, once again and among us, one of the most transcendental bands in the history of world rock. A commendable wait that was cushioned day after day, since that May 4, 1999 when they blew up the dome of the Poliedro de Caracas. Faced with the delay of Metallica, three things are important when assessing the patience of the Venezuelan public until this 12/3/2010: first, the indelible weight of this group in the broad spectrum of heavy metal; second, the musical evolution that it has experienced in recent years (almost taking it to the brink of extinction); and third, the recruitment of new generations of followers, without which it would not have been possible to revalue not only their already classic albums, but all the existential imaginary of evil and obscurantism that their lyrics express. We believe that it is this classic band character that gives Metallica the button of no return to that subject, who, due to fate, looks out for his music.
Entrance to the Metallica concert
Setlist
Magnetized by death
Once the disaster route started, Metallica would transform the experience of heavy metal into a collective orgasm. From apocalyptic judgment to musical pleasure and, therefore, rhythmic: irrefutable parable that changed obscurantism into jubilant catharsis. James Hetfield (vocals and guitar), Lars Ulrich (drums), Kirk Hammett (guitar) and Robert Trujillo (bass) would submit us to this experience for more than two hours. And as Constantine's drama-the mystic soldier who subjects the spirits condemned by Satan-demonstrates a second in hell is eternity. It could be said, by means of this simile, that the thousands of souls present lived the eternal void in those two magisterial hours. Eleven years summarized in those 120 minutes: dream of evil. Magnetized by the strength of Metallica.
The show showed us, in this correlative order, 18 of his most varied pieces belonging to his nine albums: Creeping Death, For Whom The Bell Tolls, Fuel, Harvester Of Sorrow, Fade To Black, That Was Just Your Life, The End Of The Line, The Day That Never Comes, Sad But True, Cyanide, One, Master of Puppets, Blackened, Nothing Else Matters, Enter Sandman, Last Caress, Whiplash, and Seek and Destroy. Each theme caused an infinite universe of sensations: the precipice, for example, in For Whom The Bell Tolls; the Dantesque hell, in Fuel; despair, in Fade to Black; the atavistic despair, in One; the evil irony, in Sad but it brings; the cataclysm, in Master of Puppets; the massacre, in Creeping Death; depressive crying, in Nothing Else Matters; the devilish laugh, in Whiplash; the perpetual looting, in Seek and Destroy ...
James Hetfield / Vocals, Rhythm Guitar
Kirk Hammett / Lead Guitars
Lars Ulrich / Drums
Robert Trujillo / Bass
"Caracas, you made us feel good"
"Do you feel this? Do you feel what I feel? "Was one of the many phrases that James Hetfield, vocalist and guitarist of the Californian band released with enviable energy. It was that feeling to which we all live: the dome with the disaster, the orgasm with death. The strength unleashed by each of these four horsemen of the Apocalypse must not be missed here in this review.
Lars Ulrich left everyone ecstatic with the force with which he still hits the battery. When the huge screen focused on his face, it not only reflected the high decibels with which he hit his drums (one of the most powerful of the world rock), but also the indisputable gestures of violence. Who at this height does not feel the rumbling sound of Ulrich's drummers rumble in his chest? Rabid sound that will not be easily erased. "Metallica should not wait 11 more years to come back," said Ulrich at the memorable farewell.
Robert Trujillo showed that he does an excellent job with bass strings. Of Aztec origin, Trujillo agitated, like an animal that devours its prey, the ferocity with which that instrument should be played in the world of heavy metal. It's hard to erase the image of Jason Newsted, former bassist of the band: they are obviously very different styles. However, Trujillo continues to demonstrate to all the fans that he has the strength and charisma to spare that the bass continues to sound brutally in the Californian group. "To kick ass, Caracas", was the only sentence that Trujillo released in a not very fluent Spanish.
Kirk Hammet, with the simplicity that has always characterized him on stage, did his thing with the guitar. Monstruoso virtuosismo, the Californian left amazed with his solos throughout the presentation, and he walked from left to right showing his beautiful guitars and getting the most out of them. Shaking his mane, more than one made him cry with the beginning of Nothing else matters, illuminated by the powerful headlights; or deliriously satiated with passages from "One", "Sad But True" and "Master Of Puppets". It was proven among us that Hammet is among the best guitarists in musical history. "Thank you very much, Venezuela," he would say with a smile, shortly after releasing dozens of fingernails to the public as pieces of antalogy.
James Hetfield took the baton of the massacre throughout the show. It is very difficult to find, in these current moments, a frotman of the quality and delivery of Hetfield. And not only that: it is one of the most fearsome voices of heavy metal. "I've heard a couple of things about Caracas and some of that is that they do not like very heavy songs," he said halfway through the recital, as if wanting to challenge us. "Do you want something heavy? Are you ready?" And with the unsurpassed "Yeah!", Outgoing scream from the depths of Hades, it would drag us to the dark abysses. Malice remains Hetfield's most potent characteristic: it is the angry spark that makes him legendary. He would bid farewell to us by placing the Venezuelan flag on his back, and with it he would tour the entire stage in his last goodbye.
Metallica: the magnetic artillery follows
Ecstatic, we had so enjoyed the experience of pain and excitement, that nothing and no one can surprise us with new perks. We have already experienced eternal pain, the pleasure of evil. The doubt of the beginning was saved: we had survived the magnetism. But with a particularity: survival led us, at the same time that the lights went out, to cultivate more in the rhythmic power of Metallica. A sensation that, indeed, leads us to new approaches, to new existential revaluations. Death Magnetic (2008), the most recent disc of the band exalted to the Hall of Fame of Rock, is a sample to the musical recovery of the four horsemen of what was the decline of St. Anger (2003). "Going back to form", to the wise of the Kill'Em all, to the Machiavellian riffs of Master of puppets, and to the strength of ... And Justice For All. Metallica expands on itself and on us, demonstrating today more than ever that the fury of heavy metal is just beginning. Hunger, death, victory and war: powerful sources that make the artillery of Metallica one of the most solid of our contemporaneity. The artillery continues.
