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CD€ 14,99

Metal - Verschenen op 1 januari 1991 | Virgin EMI

Onderscheidingen The Qobuz Ideal Discography
Na het album After ...And Justice for All (1988) besluit metal-band Metallica dat het tijd is om de sound te vereenvoudigen. Het daarop volgende album Metallica (1991) staat derhalve in het teken van melodieuze en compact gestructureerde songs. Daarmee valt het album te kenmerken als een van de meer toegankelijke platen van de Amerikanen, hoewel er ook mensen zijn die menen dat met het album de artistieke neergang van de band is ingezet. © TiVo
CD€ 139,99

Metal - Verschenen op 3 maart 1986 | UMC (Universal Music Catalogue)

Onderscheidingen Best New Reissue
Metallica, a band stronger than The Beatles? Without a doubt if you consider sound power, but in terms of remastered editions featuring “a few” bonuses, the award might also go to the Four Horsemen if you compare the “Deluxe” edition of their third album to the Fab Four’s Sgt. Pepper’s Lonely Hearts Club Band Anniversary (Super Deluxe Edition). In it, you’ll find the equivalent of no less than ten fully-packed CDs for this Master Of Puppets that many consider, rightly or wrongly, as Metallica’s own Sgt. Pepper's. Well, it’s true that you’ll struggle finding any defect in the armour of such a monument. And its lengthy gestation period, highlighted through archives at various stages of development, will no doubt reinforce the belief that the band was touched by grace at this very moment in their history.A few rare critics begrudge this album for not having been as surprising as its two predecessors. Indeed the general structure of Master… , as well as the majority of its titles, can be compared with Ride The Lightning from the first frantic title Battery, in the same vein as Fight Fire With Fire, to the epic final of Damage Inc., wildly evoking a sped-up version of Creeping Death. There is also a false ballad halfway through, Welcome Home (Sanitarium), reusing in essence the same ingredients as Fade To Black and the finely chopped instrumental of Orion, with a very vague similarity with The Call Of Ktulu… However while this third attempt can be seen as a synthesis of the previous two, Master… is by far the most accomplished in the sense that, for the first time, Metallica had the time and means to refine and polish their compositions to the point of almost perfection. Even when compared with recent productions, the album is technically inevitable and unrivalled.In detail, the value of this remastered edition is not so much the lifting done to the original work, but rather everything else around it. Ever since Metallica’s first official live album Live Shit: Binge & Purge, we’ve been used to them not doing things halfway. But this goes beyond everything you could have imagined, even when compared with the remastered versions of Kill 'em All and Ride The Lightning. The band emptied all their drawers and sorted them out to enrich the album − in every sense of the word. First and foremost you’ll be delighted with the numerous drafts, which can certainly be recommended to aspiring musicians. The same applies to demoes, at different levels of development, and instrumental versions, which reveal numerous hidden details. You’ll probably not listen to James (and his “wananananas”) and Kirk’s personal tapes or the “writing in progress” versions recorded in Metallica’s famous “garage” over and over again, but the two highlights of these archives − The Prince, in a quite accomplished first approach to the title borrowed from Diamond Head, and the cover of Fang’s The Money Will Roll Right In, which was abandoned on the way – are both worth several listens.The colossal album only brings division among fans when discussing its ranking among Metallica’s best albums − although it would always make the podium. The new approach offered here might sway a few more votes for the first position. But beyond a well deserved and convincing highlight of the quality of Master…, this album is also the undeniable accomplishment of the Cliff Burton era. An easily discernable period in the sense that the bass was beautifully put forward. And for good reason! Far from being a simple bass player, Cliff was both a driving force in terms of creativity and inspiration as and a generous and calm character, balancing and “harmonising” the relations within Metallica. As we’ll see later, his mediating role would have more than once been useful between Lars Ulrich and James Hetfield. Some even wonder if Kirk Hammett didn’t just stop getting better after this album, without Cliff’s mental and instrumental boosts.The bass player’s role is obvious in the concerts featured in this edition with, for some of them, an exceptional sound quality. It’s also worth noting that Cliff’s very last concert is featured in this edition, at Stockholm’s Solnahallen on September 26th, 1986, a few hours before the tour bus accident that claimed his life. In this instance no one will complain about the “bootleg” quality of the recording. No matter what Jason Newsted – whose auditions and first concert with Metallica are included – brought to the table, it’s clear the band lost much more than a simple musician with Cliff Burton. The main argument of those who place Master… at the top of their ranking is precisely what …And Justice For All and the “Black Album” (Metallica) are missing: Cliff Burton, period! With the great care given to this remastered version of Master…, it is obvious that Lars, James and Kirk wanted to pay tribute to the one who brought them so much. © JPS/Qobuz
CD€ 14,99

Metal - Verschenen op 1 januari 2008 | Virgin EMI

Onderscheidingen 8/10 de Volume
Het leuke van Death Magnetic is dat je weer eens de Metallica sound hoort. De afzonderlijke nummers zijn ondergeschikt aan hoe de band klinkt, hoe ze spugen, snauwen en bruisen, hoe levendig ze lijken. Metallica borduurt niet verder op hun gedrag in de jaren '80, zij zijn verkwikt door hun energie van de eerdere jaren, waaraan ze nuances toevoegen die ze hebben geleerd in de jaren '90, of het nu symphonische spanningen zijn of het produceren van bloedstollende blues riedels die tussen de rommel te horen zijn. Het is moeilijk om geen sensatie te voelen bij de meesterlijke agressie en escalatie van Metallica. Natuurlijk is de band ouder en gevestigd, en worden ze niet langer gevoed door de honger en het testosteron dat hun albums in de jaren '80 zo aangrijpend maakten, maar Death Magnetic bewijst dat ouder niet synoniem is aan minder sterk. © Stephen Thomas Erlewine /TiVo
CD€ 13,99

Metal - Verschenen op 1 januari 1986 | Mercury (Universal France)

Onderscheidingen The Qobuz Ideal Discography
Metallica, a band stronger than The Beatles? Without a doubt if you consider sound power, but in terms of remastered editions featuring “a few” bonuses, the award might also go to the Four Horsemen if you compare the “Deluxe” edition of their third album to the Fab Four’s Sgt. Pepper’s Lonely Hearts Club Band Anniversary (Super Deluxe Edition). In it, you’ll find the equivalent of no less than ten fully-packed CDs for this Master Of Puppets that many consider, rightly or wrongly, as Metallica’s own Sgt. Pepper's. Well, it’s true that you’ll struggle finding any defect in the armour of such a monument. And its lengthy gestation period, highlighted through archives at various stages of development, will no doubt reinforce the belief that the band was touched by grace at this very moment in their history.A few rare critics begrudge this album for not having been as surprising as its two predecessors. Indeed the general structure of Master… , as well as the majority of its titles, can be compared with Ride The Lightning from the first frantic title Battery, in the same vein as Fight Fire With Fire, to the epic final of Damage Inc., wildly evoking a sped-up version of Creeping Death. There is also a false ballad halfway through, Welcome Home (Sanitarium), reusing in essence the same ingredients as Fade To Black and the finely chopped instrumental of Orion, with a very vague similarity with The Call Of Ktulu… However while this third attempt can be seen as a synthesis of the previous two, Master… is by far the most accomplished in the sense that, for the first time, Metallica had the time and means to refine and polish their compositions to the point of almost perfection. Even when compared with recent productions, the album is technically inevitable and unrivalled.Master Of Puppets only brings division among fans when discussing its ranking among Metallica’s best albums − although it would always make the podium. The new approach offered here might sway a few more votes for the first position. But beyond a well deserved and convincing highlight of the quality of Master…, this album is also the undeniable accomplishment of the Cliff Burton era. An easily discernable period in the sense that the bass was beautifully put forward. And for good reason! Far from being a simple bass player, Cliff was both a driving force in terms of creativity and inspiration as and a generous and calm character, balancing and “harmonising” the relations within Metallica. As we’ll see later, his mediating role would have more than once been useful between Lars Ulrich and James Hetfield. Some even wonder if Kirk Hammett didn’t just stop getting better after this album, without Cliff’s mental and instrumental boosts.
HI-RES€ 26,99
CD€ 19,49

Metal - Verschenen op 28 augustus 2020 | EMI

Hi-Res
Who can forget the first S&M (Symphony and Metallica) released in 1999, where the Four Horsemen performed their greatest hits with the San Francisco Symphony Orchestra. That first performance was conducted by Michael Kamen and was praised by critics and fans alike. There was huge demand for a second performance and it finally became a reality in 2019. Led this time by Michael Tilson Thomas, the San Francisco Symphony Orchestra and Metallica offer a purer vision than the one Kamen chose twenty years earlier. Rather than adding on layers of brass and strings like Kamen did, Tilson Thomas truly uses the orchestra to support the Californians’ music rather than enveloping it, retaining the essence of the original pieces, which become even more intense. This is a union between two worlds and the superimposed feeling of the first S&M disappears.The grandiloquent overture The Ecstacy of Gold (Ennio Morricone) introduces the instrumental The Call of Ktulu with an almost jubilant brilliance. Metallica also ventures into more acoustic lands (the band becoming more and more inclined to revisit their pieces in different tonalities) letting James Hetfield and the orchestra transport us into almost aerial atmospheres, like on All Within My Hands. Not just in a supporting role, the San Francisco Orchestra uses Metallica for relevant and enjoyable performances of Sergei Prokofiev’s Scythian Suite (Chuzhbog and The Dance of the Dark Spirits) and The Iron Foundry Opus 19 (Alexander Mosolov). Excellent choices that manage to grab you by the throat and convey an astonishing atmosphere. (Anesthesia) Pulling Teeth, an instrumental originally composed and played by the late bassist Cliff Burton, is covered by double bassist Scott Pingel, making for a real highlight of the concert.It’s a shame that Metallica chose to include some of their classics, which are less suited to this orchestral setting, as it would have perhaps provided a more logical and cohesive setlist. S&M 2 is surprising and moving but also a bit frustrating at times. The Four Horsemen seem determined to take their catalogue in unexpected directions and to please themselves and their audience at the same time. Who knows where the limit will be… © Maxime Archambaud/Qobuz
CD€ 21,99
S&M

Metal - Verschenen op 1 januari 1999 | Virgin EMI

HI-RES€ 21,49
CD€ 14,99

Metal - Verschenen op 25 augustus 1991 | Virgin EMI

Hi-Res
CD€ 14,99

Metal - Verschenen op 1 februari 2019 | EMI

CD€ 12,49

Metal - Verschenen op 26 juli 1984 | Virgin EMI

Booklet
CD€ 9,99

Metal - Verschenen op 3 maart 1986 | UMC (Universal Music Catalogue)

Metallica, a band stronger than The Beatles? Without a doubt if you consider sound power, but in terms of remastered editions featuring “a few” bonuses, the award might also go to the Four Horsemen if you compare the “Deluxe” edition of their third album to the Fab Four’s Sgt. Pepper’s Lonely Hearts Club Band Anniversary (Super Deluxe Edition). In it, you’ll find the equivalent of no less than ten fully-packed CDs for this Master Of Puppets that many consider, rightly or wrongly, as Metallica’s own Sgt. Pepper's. Well, it’s true that you’ll struggle finding any defect in the armour of such a monument. And its lengthy gestation period, highlighted through archives at various stages of development, will no doubt reinforce the belief that the band was touched by grace at this very moment in their history.A few rare critics begrudge this album for not having been as surprising as its two predecessors. Indeed the general structure of Master… , as well as the majority of its titles, can be compared with Ride The Lightning from the first frantic title Battery, in the same vein as Fight Fire With Fire, to the epic final of Damage Inc., wildly evoking a sped-up version of Creeping Death. There is also a false ballad halfway through, Welcome Home (Sanitarium), reusing in essence the same ingredients as Fade To Black and the finely chopped instrumental of Orion, with a very vague similarity with The Call Of Ktulu… However while this third attempt can be seen as a synthesis of the previous two, Master… is by far the most accomplished in the sense that, for the first time, Metallica had the time and means to refine and polish their compositions to the point of almost perfection. Even when compared with recent productions, the album is technically inevitable and unrivalled.Master Of Puppets only brings division among fans when discussing its ranking among Metallica’s best albums − although it would always make the podium. The new approach offered here might sway a few more votes for the first position. But beyond a well deserved and convincing highlight of the quality of Master…, this album is also the undeniable accomplishment of the Cliff Burton era. An easily discernable period in the sense that the bass was beautifully put forward. And for good reason! Far from being a simple bass player, Cliff was both a driving force in terms of creativity and inspiration as and a generous and calm character, balancing and “harmonising” the relations within Metallica. As we’ll see later, his mediating role would have more than once been useful between Lars Ulrich and James Hetfield. Some even wonder if Kirk Hammett didn’t just stop getting better after this album, without Cliff’s mental and instrumental boosts.
CD€ 21,99

Metal - Verschenen op 1 januari 1998 | EMI

HI-RES€ 21,49
CD€ 14,99

Metal - Verschenen op 3 maart 1986 | UMC (Universal Music Catalogue)

Hi-Res
Metallica, a band stronger than The Beatles? Without a doubt if you consider sound power, but in terms of remastered editions featuring “a few” bonuses, the award might also go to the Four Horsemen if you compare the “Deluxe” edition of their third album to the Fab Four’s Sgt. Pepper’s Lonely Hearts Club Band Anniversary (Super Deluxe Edition). In it, you’ll find the equivalent of no less than ten fully-packed CDs for this Master Of Puppets that many consider, rightly or wrongly, as Metallica’s own Sgt. Pepper's. Well, it’s true that you’ll struggle finding any defect in the armour of such a monument. And its lengthy gestation period, highlighted through archives at various stages of development, will no doubt reinforce the belief that the band was touched by grace at this very moment in their history.A few rare critics begrudge this album for not having been as surprising as its two predecessors. Indeed the general structure of Master… , as well as the majority of its titles, can be compared with Ride The Lightning from the first frantic title Battery, in the same vein as Fight Fire With Fire, to the epic final of Damage Inc., wildly evoking a sped-up version of Creeping Death. There is also a false ballad halfway through, Welcome Home (Sanitarium), reusing in essence the same ingredients as Fade To Black and the finely chopped instrumental of Orion, with a very vague similarity with The Call Of Ktulu… However while this third attempt can be seen as a synthesis of the previous two, Master… is by far the most accomplished in the sense that, for the first time, Metallica had the time and means to refine and polish their compositions to the point of almost perfection. Even when compared with recent productions, the album is technically inevitable and unrivalled.Master Of Puppets only brings division among fans when discussing its ranking among Metallica’s best albums − although it would always make the podium. The new approach offered here might sway a few more votes for the first position. But beyond a well deserved and convincing highlight of the quality of Master…, this album is also the undeniable accomplishment of the Cliff Burton era. An easily discernable period in the sense that the bass was beautifully put forward. And for good reason! Far from being a simple bass player, Cliff was both a driving force in terms of creativity and inspiration as and a generous and calm character, balancing and “harmonising” the relations within Metallica. As we’ll see later, his mediating role would have more than once been useful between Lars Ulrich and James Hetfield. Some even wonder if Kirk Hammett didn’t just stop getting better after this album, without Cliff’s mental and instrumental boosts.
CD€ 14,99

Metal - Verschenen op 25 augustus 1988 | Virgin EMI

Wie naar het vierde Metallica-album ...And Justice for All luistert, zal vooral onder de indruk zijn van de droge productie van de plaat. Het maakt van de plaat uit 1988 volgens kenners een van de beste albums van de Amerikaanse heavy metal-band. In 2018 is het dertig jaar geleden dat het album is verschenen en wordt er een geheel geremasterde versie van de plaat uitgebracht. © TiVo
CD€ 139,99

Metal - Verschenen op 25 augustus 1988 | UMC (Universal Music Catalogue)

As if coming up with a worthy successor to the incomparable monument Masters Of Puppets wasn't daunting enough, Metallica had to go through the loss of Cliff Burton, who was more than just a bassist: he was a kind of spiritual and musical guide. Although they would later call on the services of a psychiatrist (see the film Some Kind Of Monster), it was when they started work on this fourth album that Lars Ulrich, James Hetfield and Kirk Hammett really needed the services of a shrink. Poor old Jason Newsted probably could have done with some help as well, coming to terms with becoming the group's whipping boy, especially on this album where he was simply "eliminated" from the mix. Although Lars and James swore that they'd never remix the bass back into ...AJFA it's clearly much more present on this remastery and on the numerous live tracks that feature on this re-release.Consciously or not, the three survivors of the tour bus accident that killed Cliff on 27 September 1986 were trying to record an album that the he would have liked. With Cliff, the group's horizons had widened, and they had become a sophisticated band whose tastes ran from Bach to the high-flying prog rock of Rush, King Crimson or Yes, from the bluesy hard rock of Thin Lizzy to the southern rock of Lynyrd Skynyrd or Allman Brothers… It's clear that Lars and James took Metallica forward in this period, but they pushed their convoluted compositions to their outer limit, with the result being that …AJFA feels like a gigantic cabinet with countless compartments and drawers. Throughout the development period of the nine tracks on this double album (which dates from the last halcyon days of vinyl), things were never easy for Kirk or Jason, which is made clear by the many offcuts and first drafts included in this re-release (running from James's first audio cassettes in 1986 all the way through to the sessions with the whole band from October 1987 to January  1988).While Cliff's shadow hangs over this album, which is surely Metallica's most "progressive" album, the group was soon to take a turn in another direction. After all, it would have been hard for them to go much further into experimental madness. The paradox is that …AJFA brought the four-piece their first "mainstream" success with One. The the cut-down version made it onto the airwaves and MTV thanks to Metallica's first ever music video. © Jean-Pierre Sabouret/Qobuz
CD€ 12,49

Metal - Verschenen op 24 juli 1983 | Virgin EMI

Booklet
Kill 'Em All is Metallica's debut album, and it is the cornerstone of what would be named soon after speed metal or thrash metal. Prior to July 25, 1983, no album had shown such an outpouring of energy, violence and extremes, right up to the album art. Initially entitled Metal Up Your Ass (rejected by the Megaforce label), the cover was going to feature a hand holding a dagger coming out of a toilet bowl. In the end, it featured a pool of blood with a hammer next to it and a hand trying to grab it. In both cases, the message is quite clear. The album opens with the hyper-rapid Hit the Lights, featuring a heady riff and wild bawling, with a punk touch in the execution as well as in the sound. Everything is too fast, too loud, like on Motorbreath, a song straight from hell with razor-sharp drums. The record also contains Seek and Destroy, the band's first real classic, as a tribute to the bands so loved by Lars Ulrich (drums) and James Hetfield (guitar/vocals), Diamond Head and Saxon. On steroids, of course. Kill 'Em All also has Dave Mustaine to thank, the guitarist who was fired from the band a few days before going into the studio and replaced by Kirk Hammett. The future leader of Megadeth was indeed the composer of four tracks on the album. A multitude of bands (Slayer, Exodus, Anthrax to name but a few) would follow in Metallica's footsteps after this release that would lead the Four Horsemen to the pantheon of metal. © Maxime Archambaud/Qobuz
CD€ 14,99

Metal - Verschenen op 1 januari 1996 | Virgin EMI

CD€ 23,49

Metal - Verschenen op 18 november 2016 | Virgin EMI

De mannen van Metallica laten de fans lang wachten op hun tiende studioalbum. Maar liefst acht jaar zitten er tussen Death Magnetic (2008) en de opvolger Hardwired ... To Self-Destruct (2016). Maar daar staat tegenover dat de Amerikaanse heavy metal-band de fans ditmaal wel op een dubbelalbum tracteert dat tachtig minuten aan muziek bevat. Het album wordt geproduceerd door Greg Fidelman. © TiVo
HI-RES€ 30,99
CD€ 21,99
S&M

Metal - Verschenen op 1 januari 1999 | Virgin EMI

Hi-Res
HI-RES€ 17,49
CD€ 12,49

Metal - Verschenen op 26 juli 1984 | Virgin EMI

Hi-Res
After making history with their previous album Kill 'Em All, Hetfield and Ulrich’s band didn’t just sit back and relax. Metallica could be so much more, and the Californians wanted to prove it. The Four Horsemen were back just one year later in July 1984 with Ride The Lightning. Working off the foundations of Kill 'Em All, the band gave even more space to their incredible bassist Cliff Burton. Hungry for new discoveries, Burton spent hours every day listening to music from all walks of life, representing a wide range of influences. The introduction is much more melodic than expected on the first track, Fight Fire With Fire, before the decibels go wild. By then more mature, the tracks are rerouted by the work of solo guitarist Kirk Hammett, with very melodic and inspired passages, even if Satriani's pupil also knows how to bring out the big guns. Fade to Black comes to mind (a classic among the classics) which, beyond its aggressive front, manages to move into more hazy territories, offering an added value to the band's music. The Call of Ktulu, the instrumental track that concludes the album, was born from the musical voyages of Dave Mustaine (Megadeth) at the time of his short stint in Metallica. It is taken up masterfully here by Cliff Burton, who restructures the track, interweaving the epic Metallica sound with totally new melodies that are so beneficial for storytelling. Those in search of thrills won't stay on the sidelines, however, with beautiful virulent pieces like Ride the Lightning, Trapped Under Ice or the incredible and tyrannical For Whom the Bell Tolls and its introduction played on the bass with a supersaturated sound. This second must-have album is much more representative of what the band would go on to become, symbolizing their last experimentations before affirmation and greatness. © Maxime Archambaud/Qobuz
CD€ 19,49

Metal - Verschenen op 18 november 2016 | Virgin EMI

…And Metallica ended eight years of silence! The first studio recording by the Californian gang since Death Magnetic released in 2008, Hardwired...To Self-Destruct was even a double album! The twelve tracks were essentially signed by James Hetfield and Lars Ulrich (for the first time, Kirk Hammett didn't help with the writing), summarizing the multiple artistic sides of these masters of thrash metal. Indeed, this tenth album showcased everything James Hetfield, Lars Ulrich, Kirk Hammett and Robert Trujillo were capable of. With catchy tunes and haunting choruses, Metallica hadn't been this effective in ages, somehow going back to basics. So much so that the tracks recall their previous masterpieces, whether it's Master Of Puppets, Ride The Lightning, ...And Justice For All or the Black Album. On the solo side, Hammett revealed hallucinating sparks, which won't surprise his fans. On the mic, Hetfield's voice had matured like never before, capable of overpowering roars as well as more subtle passages. Above all, Hardwired...To Self-Destruct has some of Metallica's best songs, such as the impressive track Spit Out The Bone which closes this double album. Finally, on Murder One, the band pays homage to one of their deceased idols: Lemmy from Motörhead! © CM/Qobuz

Artiest

Metallica in het magazine
  • Re-justify
    Re-justify As if coming up with a worthy successor to the incomparable monument Masters Of Puppets wasn't daunting enough, Metallica had to go through the loss of Cliff Burton, who was more than just a bassis...