Metallica: Some Kind of Monster 2004

In the spring of 2001, Metallica finds itself navigating through a tumultuous phase. Following their lawsuit against Napster, a wave of discontent among fans has arisen, and the departure of bassist Jason Newsted has created a significant rift within the band. To mend the growing tensions, they bring in performance coach Phil Towle, although Newsted isn’t convinced, dismissing the effort as “really fucking lame and weak.” Amid this chaos, the band sets out to create a new studio album in an abandoned barracks at the Presidio of San Francisco. They collaborate with veteran producer Bob Rock, who fills in as bassist and works alongside main members, James Hetfield (singer/guitarist), Lars Ulrich (drummer), and Kirk Hammett (guitarist). This new approach leads to the creation of tracks like “Some Kind of Monster” and “My World” showcasing a more unified effort.

However, just as the album begins to take form, Hetfield’s exit from the sessions initiates a wave of uncertainty. His decision to enter drug rehabilitation to tackle his addiction puts the project on an unexpected hold. Ulrich seeks feedback from his father on the material they’ve produced, only to receive harsh criticism that the songs are mediocre. As months pass without Hetfield, doubts loom over Metallica’s future. While Ulrich, Rock, and Hammett continue their therapeutic sessions with Towle, Hammett retreats to his northern California ranch, clinging to the hope of resolution.

In a notable moment, Ulrich reconnects with Metallica’s original lead guitarist, Dave Mustaine, who was dismissed in 1983. Mustaine’s confrontation reveals deep resentment towards Metallica and the shadows he feels they cast over his own career. A visit to an Echobrain concert leads Ulrich to lament his struggle to maintain his own band. As Hetfield’s absence extends over six months, Metallica reluctantly lets go of their lease at the Presidio, leaving the band’s album and future clouded in uncertainty.

Emerging from rehab in April 2002, Hetfield rejoins the band at their new HQ studio to start crafting the poignant track “Frantic.” His recovery strategy mandates a stringent four-hour workday and establishes a rule that his bandmates cannot discuss recorded material without his presence. These strict boundaries create tension, particularly with Ulrich, who feels Hetfield has become excessively controlling. This culminates in a charged meeting, during which Ulrich expresses his frustrations, putting strain on the foundational ties of the band as they work on “The Unnamed Feeling.” Hetfield’s control stems from a deeply rooted fear of abandonment tied to his past experiences.

Amidst the rising tensions, Hammett provides a steady counterbalance to the band’s conflicts, surprised by their choice to omit guitar solos from their work. The frustration intensifies as the band grapples with their management’s push for a promotional video for a radio contest, a sentiment that ultimately fuels the creation of the track “Sweet Amber.” As their creative output begins to soar, Ulrich channels his frustrations regarding the Napster lawsuit into the lyrics for “Shoot Me Again.” As they decide which tracks to finalize, the members sense a revival in their chemistry and reconsider Towle’s influence, feeling he has integrated too closely into their dynamic.

The band is invited to perform at the upcoming MTV Icon tribute show, prompting an urgent search for a new bassist. After considering various talented musicians, they choose Robert Trujillo, whose exceptional skills and finger-style technique remind them of their late bassist, Cliff Burton, who tragically died in 1986. They decide to name their album St. Anger and film a music video for the title track at San Quentin State Prison. As they prepare for a three-year break from touring, Ulrich confidently asserts that they’ve “proven that you can make aggressive music without negative energy.” The film concludes with an exhilarating montage of Metallica performing “Frantic” to electrified crowds during their summer 2003 tours, citing that St. Anger debuted at number one in 30 countries globally.