Song of the Week: Metallica Turn Up the Heat on “72 Seasons”

Paolo Ragusa and Consequence Staff

March 31, 2023 at 1:50 PM·7 min read

The post Song of the Week: Metallica Turn Up the Heat on “72 Seasons” appeared first on Consequence.

Song of the Week delves into the fresh songs we just can’t get out of our heads. Find these tracks and more on our Spotify Top Songs playlist, and for our favorite new songs from emerging artists, check out our Spotify New Sounds playlist. This week, Metallica treats us to the dizzying title track of their upcoming album, 72 Seasons.

For the title track of their forthcoming 11th album, 72 Seasons, Metallica are putting their foot on the gas once again. Atop a relentless groove that spans nearly eight minutes, the legendary metal mainstays push and pull with careful deliberation — each member of the quartet finds ample time to shine, while never fearing the inevitable double-time tempo switch or floor-dropping chord change.

Oh, and it’s catchy as hell: Vocalist James Hetfield sounds as vital as ever on “72 Seasons,” soaring through the full-throttle chorus and making great use of his gritty and anthemic higher register. Previous 72 Seasons singles “If Darkness Had a Son” and “Screaming Suicide” were certainly standout offerings from Metallica, but the title track feels like a more appropriate thesis for this era of their career. They know what they’re capable of, they know all the different musical paths they can walk, and yet, they can’t help but return to a seven-and-a-half minute thrash odyssey like “72 Seasons.”

Within the track are dozens of dizzying moments — even the band’s pre-bridge, double-time palm-muted chugging is conducted in such a frenzy that each ensuing full-band hit feels like a lucky surprise. Seven minutes is a lot of time to fill, but on the track, you can hear songwriting moments like that pre-bridge riff designed to help the band retain their momentum. Lars Ulrich is certainly a major figure on “72 Seasons,” as always, but perhaps no moment of musicianship is more gripping than Kirk Hammett’s absurd guitar solo after the bridge: conducted at a high tempo, with multiple chord changes, and absolutely ripping.

“72 Seasons” may not have as many noticeable sonic risks as the new album’s previous singles, but it does serve as one of Metallica’s more accessible tracks from their recent output. There’s such an influx of energy and momentum teeming with each note; so much so, that you can’t help but head-bang along as the band speeds toward catharsis. In fact, “72 Seasons” isn’t just a great single, it’s a great excuse to fantasize about the live energy that Metallica brings, and how phenomenal it would be to witness a song like this in person.

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They may have been playing together for over 40 years, but Metallica makes “72 Seasons” sound like a band that has never left their prime.

— Paolo Ragusa
Associate Editor

Honorable Mentions:

Georgia – “It’s Euphoric”

Georgia’s newest bop is an excellent addition to the canon of Song Titles That Explicitly Comment on What the Song Sounds Like. Previewing the UK artist’s upcoming album, Euphoric, which is co-produced by Rostam, “It’s Euphoric” offers a hefty dose dopamine, with propulsive beats, a thumping bass line, and twinkling keys that give way to synth serenity. Toss it on when you’re feeling low, and boom: euphoria. — Spencer Dukoff

DAMOYEE – “phobia”

Singer-songwriter DAMOYEE’s latest, “phobia,” is an indulgent daydream of a track that revels in taking its time. The track is a joy in its faux-aimlessness; it feels like we’re step by step in this journey with DAMOYEE, and the truth is that she knows where we’re going the entire time. She manages to match a folk energy with the r&b pulse, and the effect is addicting. Add this one to a playlist reserved for stepping into yourself, accessing confidence, and facing fears — you’ll feel like this song is backing you up the whole way. — Mary Siroky

girli – “Cheap Love”

“No bills, just thrills” is such a great line from girli it’s a wonder it isn’t already plastered on hydroflasks, tote bags, and laptops around town. The rising Brit romanticizes an experience with which far too many of us are intimately familiar — making the most of a budding romance even when funds are low. “I’d take you for a ride in my car if I had one,” she sings. All in all, “Cheap Love” is a bop that feels a bit like early Charli XCX, melodically strong and energetic enough to stick. — M. Siroky

Michigander – “Cannonball”

The new track from indie-pop gem Michigander, co-written with Chris Carrabba of Dashboard Confessional, makes it feel like the arrival of Spring is now official. Throw a window open and turn this one up to access main character energy even in the most mundane of moments — Michigander’s inviting, friendly, and lyrically clever style is on full display here. The song arrives in conjunction with his latest EP, It Will Never Be the Same, which serves as a great six-song introduction to the artist for any new listeners. — M. Siroky

Barrie – “Ghost World”

Alongside the release of her brand new EP, 5K, Barrie has shared the dazzling final single, “Ghost World.” Beginning with a driving, percussive groove that recalls the break beats on “Frankie,” a standout cut from her 2022 LP, Barbara, “Ghost World” slowly evolves into an effortless indie pop gem. As always with Barrie, there’s a comforting aura to her warm, delicate vocals, and the love and peace she sings of (“I looked the other way/ And I rushed into my head/ But I come to you instead,” goes the second verse) is perfectly represented in the strum of her guitar and the hidden wonder of her synth work. 5K revolves a lot around the psychological effects of running, but “Ghost World” feels like a satisfying finish line. — P.R.

Draag – “Demonbird”

From its first moments, Draag’s “Demonbird” is relentless. The skittering snare pattern and skuzzy guitar/bass combo burst as soon as you hit play and let up only for a feedback-ridden outro. The vibe is at once gloomy, anxious, and, thanks to the ethereal lead vocals, almost beautiful. The tune comes as the second taste to the band’s upcoming album, Dark Fire Heresy, and so far, the songs are living up to the LP’s ominous title. — Jonah Krueger

Alex Lahey – “They Wouldn’t Let Me In”

Alex Lahey channels her isolation into a pop-punk anti-anthem with her new single. Pulling from her experiences of exclusion as a queer teenager, she writes a song that is relatable for anyone who ever finds themself on the outside looking in. But instead of being sad about it, she’s mad. This song has a driving riff that feels heavy and makes you want to move, the drums pounce on the groove, and clean guitar tones soak the chorus in between the downbeat. It feels cathartic and bold, edgy yet mega-chill. It has an energy that makes you realize maybe the outside is where it’s at, anyway. — Andre Heizer

TEKE::TEKE – “Gotoku Lemon”

Falling somewhere in between surf rock, psychedelia, and Japanese street music, TEKE::TEKE’s “Gotoku Lemon” is an utterly gripping four minutes of left-field indie rock. Translating to “Lemon Enlightenment,” the track builds a wall of sound over which horns and woodwinds delicately dance. All the while, curt, shouted lead vocals complement the bizarre brand of intensity “Gotoku Lemon” fosters. It’s a wild combination of sounds, but they couldn’t come together any better. — J.K.

Anna Shoemaker – “I Think I”

Sometimes self-love involves bellowing into the abyss. Sometimes it’s just sitting “on the front porch step in my underwear” letting yourself have a day. Anne Shoemaker stretches to both ends of that spectrum on her new single, “I Think I.” The latest taste of her forthcoming Hey Anna EP (out in June from +1 Records), the indie pop ode to “self-acceptance and knowing in your bones that you will be okay, especially when you’re spiraling,” is both cathartic and comforting, like the sense of calm that comes after burying a primal scream into your pillow. — Ben Kaye