Review Summary: A classic for a reason, thrash creators Metallica push the boat out here to create something miraculous
Metallica are a thrash metal band from America. This style of music is characterized by a fast pace, guitars that sound like a buzz saw, and barked vocals. Other bands that fit into this catagory are Slayer, Anthrax, Kreator, Exodus, Sodom, and Megadeth. Each of these bands bought something fresh to the scene, but it was Metallica that created it in the first place. Of their albums, the first four are generally beloved, the self-titled record is seen by a betrayal to some but is ultimately accepted, and the majority of their 90's material isn't seen as being up to scratch. Death Magnetic was heralded as a huge return to form, and the most recent album was regarded as "meh". Of all their albums, one has a legacy that goes above and beyond the "classic" tag that the rest of their early work embodies. This was 1986's Master Of Puppets.
The sound of this album is incredibly volatile, and incorporates both traditional 80's thrash and some progressive elements. These would be expanded on further in the follow-up album, but here thost progressive traits are somewhat restrained. Overall, this can be seen as a more heavily perfected version of the two albums released previously. Structurally, it holds much in common with Ride The Lightning, from its formulaic-yet-effective introductory fast song, to the placement of a slower and cleaner song a few tracks in, to the inclusion of a lengthy instrumental song towards the end. The primary change here is the eradication of the filler that plagued the second half of Ride The Lightning. Whereas that track had Escape and Trapped Under Ice to kill off the momentum, Master Of Puppets has the hypnotic riff barrage of Leper Messiah and the brutally effective closer Damage Inc. This record is a clear step up in terms of focus.
The songs themselves here are all excellent. Shorter, thrashier numbers such as Battery and Damage Inc bookend this album, whilst the meandering riffs of longer cuts Disposable Heroes and the slower The Thing That Should Not Be do not outstay their welcome. The titanic title track features moments of note such as a beautiful clean guitar section in the middle, and an aggressive slower build up to a frantic solo that is one of Kirk's finest moments. Welcome Home Sanitarium takes on the "experimental ballad" function of Fade To Black, with it clean verses and heavier chorus, before it descends into instrumental madness in the second half. Leper Messiah is the most forgettable song here, but boasts an impressive repertoir of riffs and a sweep-picked solo. The instrumental song, Orion, is widely cited as one of Cliff Burton's finest moments, with his wah pedal making the bass solo indistinguishable from a third electric guitar.
The production is one of the crowning triumphs of Metallica's third studio album. Every note is completely audible. The drum tones are fantastic, with every beat of Lars' kit ringing through pristinely. Kirk's solos are weighted well against the rhythm guitars, being loud enough in the mix that they are fully enjoyable, but never feeling overbearing. James' rhythms are very well mixed, and have a nice crunchy tone that is almost unmatched. This is a record that is crushingly heavy, but the riffs themselves are not. It is a truly remarkable work of art.
Master Of Puppets stands out as one of the greatest thrash metal albums ever recorded. Each of its song is a winding river of riffs, and every single one of them is a masterpiece in and of itself, and they all contribute towards the whole in exquisity fashion.
