The deck was stacked against me liking St. Anger long before I first heard the album. The band had produced some of the best metal albums in the history of the genre and recently been re-energized by the excellent Garage, Inc. and S & M projects. As if this were not enough to raise expectations beyond all reasonable levels, press releases leading up to the debut praised St. Anger as a return to the form of the band’s first four stellar albums.

Sadly, this did not reflect reality. Certainly St. Anger is the heaviest record Metallica has written since its self-titled LP in 1991. It could arguably be the heaviest material they have ever written. However, the genius of their early recordings is not simply high speed and massive distortion, though they are an important factor. The best Metallica compositions have borrowed heavily from progressive rock, and included plenty of Kirk Hammett’s melodic lead playing, both of which are notably absent on St. Anger. Much has been made of the extremely raw production of St. Anger, but … And Justice For All proved to be a classic in spite of similarly poor production on the strength of its songwriting.

On a second listen five years later, however, I am coming to appreciate St. Anger for what it is. None of the tracks are strong enough to stand on their own against the band’s early catalogue, but the album as a whole is a powerful look into a band trying to work through two massive egos, at least one serious alcohol addiction, more than 25 years of petty feuds and squabbles built up, clamoring fans such as myself, and the struggle to refind its voice. Hetfield’s vocals are passionate and filled with surprisingly clever lyrics such as “frantic – tic – tic – tic – tic – tick – tock” and “I’m madly in anger with you”. The crushing riffs enforce his anger and frustration well.

St. Anger will always be a disappointment, but it makes a compelling concept album, and that will have to be enough.