Metallica is releasing box sets of both Kill ‘Em All and Ride the Lightning, possibly bringing new attention to their earliest and most virile content. Each box set includes several vinyls and CDs worth of material, ranging from newly remastered (and possibly brickwalled) versions of the albums to live concerts and demos of the albums’ tracks. While the mixture of vinyl and CD content and the frequently iffy nature of studio demos lead me to wonder exactly how useful these box sets are, the actual songwriting content is sound, and it could possibly help a new generation of metalheads learn crucial lessons about how to make metal; good foundations for more advanced studies like Slayer and Morbid Angel. The albums are available for preorder from Metallica‘s online store, and the official releases will be on April 15th.
Thirty years ago, a struggling band from California unleashed their first album and changed the world of heavy metal forever. The genre that they may not have invented but certainly formalized was speed metal, and it represented the start of heavy metal’s journey away from verse-chorus rock into the dual worlds of hardcore punk intensity and progressive rock song structures.
At first, these changes were less obvious. Kill ‘Em All owes a huge debt to the heavy metal that came before it, and embraces many of the conventions of rock music as well, but it funneled them through a singular filter and achieved a uniformity of sound. In addition, this new style crept in with a number of innovations, like the use of introductions and instrumentals to change song structure, that presaged where this new subgenre would go.
From a casual observer’s position, the first Metallica album isn’t that far removed from its predecessors. The dual influences of UK heavy metal and hardcore punk are clear, as is the distinctive feature of speed metal: the muted strum that produces a choppy explosive sound from percussive lead rhythm guitar, allowing the construction of more complex riffs by making the power chord a building block instead of a place where the riff rests, as open chords are in rock.
Kill ‘Em All showed a new blueprint for metal that developed the extremity of Motorhead with the intricate riffery of Judas Priest and other NWOBHM bands, making for a brainy album that relied on speed to cram all of its power into songs of a normal length. In addition, the speed kicked it up to a new level of complexity in riffing. Speed reveals the sparseness of a riff, and so the one- and two-note riffs of the past would seem immensely repetitive at a faster pace. Thus the riff itself grew with speed metal.
Conceptually, metal grew up with Kill ‘Em All as well, at least partly. Yes, there were some embarrassing songs that sounded like West Side Story retrofitted for violent Northern California speed metal gangs. But more importantly, there was an epic view of existence. Songs about fate, about the fall of civilization, and dark lore that reveals the topics feared by daylight conversation all gave the album a weight beyond its (merely) heavy riffs. Like hardcore punk, this was the howling voice of the apocalypse at our door.
One of Metallica’s most important contributions was to liberate the riff from the drums, hence the “lead rhythm guitar” designation that appeared with many speed metal bands. Following the lead of UK crust punk bands like Discharge, Metallica viewed the drums as a background timekeeper which framed the riff loosely rather than accentuated it, and thus the riff could change without the drums changing. This allowed the riff to change more frequently without forcing tempo changes, although the band delighted in abrupt and surprising tempo changes as well.
Speed metal took this pattern and ran with it. While its antecedents are clear, such as the proto-speed metal of Satan/Blitzkrieg and Motorhead, and the fast-fingered intricate melodic riffs of Iron Maiden and Judas Priest, the new speed metal band from California turned up the intensity and pushed aside conventional song structures. This set metal free from the world of rock, and laid the groundwork for the next generation, which would not only inherit the true lawlessness of hardcore punk, but build up complexity to be closer to the world of progressive rock.
