Metallica
Master Of Puppets

THE REVIEW

In every musical genre, there's always been an artist, an album, and a song that is considered an icon or the highest point. Partly due to success, partly because the level of composition, sound, melody, and lyrics is so spot-on that it can even appeal to those who aren't interested in this music or don't feel any emotion. Here we talk about a genre hardly appreciated by the faint of heart, Thrash metal. An extreme metal, therefore. Imagine playing a "Reign in Blood" by Slayer or an "Arise" by the old Sepultura to one of these "faint-hearted" people, you'd be more ignorant than they are, not because these albums are bad. . . because they are too heavy to put in the ears of a "stranger." You need to find the right band and album so that the heart begins to enjoy and appreciate this music. Metallica managed to do it. And "Master Of Puppets" is the most spot-on album of the extreme Metal scene. Each of these 8 songs has its own beauty (more or less).

The first track "Battery" begins with a classical guitar riff that turns into a violent impact of distorted guitars, followed by a fast and highly effective Hetfield riff perfectly accompanied by Lars's drumming, the tenacious Cliff Burton, and the great Kirk Hammet who delivers an excellent solo. The next track is the song that represents the highest compositional level of thrash metal, we are talking about "Master of Puppets", what to say? This song has moments of arpeggio, riffs, solos, and lyrics that even the most infamous local rocker/metaler remembers (no need to mention the lyrics, an anthem in a few words).
"The Thing That Should Not Be" is a heavy track, not fast but perfectly matched to the Lovecraftian theme discussed by the four. The fourth track is considered the ballad of the album, the madhouse of "Welcome Home (Sanitarium)", a scream of despair also thanks to Hammet's hyper-fast finale, and thanks also to Hetfield's very catchy melody. "Disposable Heroes" ends the truce, with the contributions of Uncle James's very hard and fast riffs, the song puts us in the shoes of the character described, great track. "Leper Messiah" is another track that reopens Lovecraftian topics, moving at a fast compositional pace towards the end, while the initial part of the song is slow and very hard.
The penultimate track of this masterpiece is "Orion", a face of this album that has a beauty of solo never achieved by artists who, unfortunately, have lost their abilities mainly due to the death of Cliff Burton, the bassist who in this song and throughout the album has a fundamental part, especially in the middle of the song he gives us a bass moment that few can compose. Cliff Burton, in addition to contributing greatly as a high-level bassist, also manages to contribute as a person (from what they say, a piece of bread hidden in a metalhead), and the others will feel his death very much, so much so that even now his death seems like something that happened yesterday. "Orion" will be dedicated at his funeral. The last track is an extremely violent finale, a very fast and violent song, due to its pounding drum rhythm, a hyper-distorted and hyper-fast riff, and a solo that breaks the speakers: "Damage Inc. "

This album represents Metal, in general. Unfortunately, Metallica after this album will never again achieve a complete level like this album (or like the previous ones), they will produce two more good works, and after that, what is theirs will no longer be recognized, today Master seems to be made by another Metallica, absent in metal and absent without Cliff. .