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A return to their thrash metal roots? Possibly...

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Cyanide

It's odd that the band chose this as the first song to debut live because it's not a good representation of Death Magnetic. Slowing down the pace, it feels laboured in the second half – a little forced. Or maybe it's because those drums are rising up in the mix again…

The Unforgiven III

Another ominous title. It begins with Einaudi-esque mournful piano and strings before growing into a surprisingly likeable Metalliballad with some southern rock groove when it breaks. Again, Hetfield has raised his game vocally and that helps carry it while proceedings take off in the second half with some Hammett heroics. Interesting to hear the band recycling one of their old riffs here though – a burst from Ride The Lightning's title track if we're not mistaken.

The Judas Kiss

This one's a potential grower and tries a few riffs out for size before kicking in. The speed up, slow down dynamic on the verses are impressive and Hetfield's 'Bow Down' bellow on the chorus has more than a little Master Of Puppets to it.

Suicide & Redemption

Metallica's first instrumental for 20 years has a lot riding on it – the pedigree and magic in the likes of Orion and To Live Is To Die cannot be overlooked. Suicide & Redemption turns into the biggest disappointment of Death Magnetic.

The two core riffs simply aren't strong enough to sustain it – bereft of atmosphere, they could have been the work of any no-name metal act. For a band who've spent a large part of the album proving they've still got dynamic savvy this sounds laboured and outstays its welcome. But on the bright side – you can hear Robert Trujillo's bass rumbling along nicely.

My Apocalypse

A great, thrashy way to go out and the most straight-ahead track on the album. It's almost as if producer/guru Rick Rubin has told them to 'do a Slayer' and judging by Hammett's riff around the two minute mark, the spectre of Jeff Hanneman was definitely present the in studio that day.

Almost 80 minutes and a lot to take in on first listen. It's the ...And Justice For All album that is the recurring reference point here, namely on the heavier tracks. And that album's bleak and progressive thrash is a mighty yardstick.

There are a couple of dips along the way and no doubt it won't be enough to sway some old school naysayers – especially critics of Lars Ulrich's avant-garde (read: limited) technique.

But you have to ask yourself, what did you expect from the world's most successful metal band after all these years of underachieving in the studio? You may well be very surprised at what they've come up with this time. And if we hear more guitar riffs packed into an album this year, you can call us Dave Mustaine.