Metallica
Master Of Puppets

In 1986, Metallica was at the forefront of the metal scene. With just one album (Kill 'em All), they institutionalized thrash metal (of the Motorhead) and invented speed. Meanwhile, with Ride The Lightning, they merged the two genres into Heavy metal, composing strong and fast tracks, long in duration and with an almost classical approach.
The next album, Master Of Puppets, doesn’t invent anything new but elevates the innovations to a higher level, there are no fillers, all eight songs that compose it are fundamental and make the album a milestone of metal and rock in general. It’s a hard, no-frills album, but this hardness (or rather harshness) is not an end in itself. Despite not being technically excellent musicians, the four manage to write captivating songs, superior to other thrash groups. Besides the harsh sounds, it’s the intent of Metallica that strikes: even when it comes to semi-ballads, the anger they have inside comes out almost unconsciously. And it leaves a mark.

The debut is entrusted to one of the group's most badass pieces: Battery is a track played at full throttle: the initially folkish riff suddenly becomes a triumph of distortions which gives way to a killer riff, ready to harm. But what characterizes the track the most is Hatfield's voice, angry, fast, I would almost dare to call it “distorted,” which shapes the track at his leisure. It's a very heavy song, many nu-metal fans might faint after just a few minutes! Already from here, one can notice the group’s new musical intelligence that, while drawing much inspiration from “Fight Fire With Fire” from the previous album, learns to make more impactful, more compact, and solid songs! This track well explains the overall direction of the album; nothing new is invented, but the structuring level of the tracks is improved. Now the group is aware of its capabilities and knows how to exploit them. Following is the title track, an epic eight-minute metal work. It's one of the most successful and well-sustained tracks on the album. Hatfield proclaims “Obey Your Master” but unlike on previous albums, he does not do it to adhere to it but as a denunciation of the master that would enslave us (politics?). The accompanying guitar solo stands out, which, although simple, is truly perfect and moving. This song is already a legend, a perfect synthesis of the early Metallica style, those of Cliff Burton, the true ones, intent only on making music for a better life, not for money. And their sincerity is overwhelming, intense, and the listener notices it throughout the album. “The Thing That Should Not Be” is a slow march towards the underworld. What it loses in speed it gains in heaviness; Hatfield's voice deceives us with its gentle demeanor, but as soon as the guitars start roaring it too changes tone until it becomes harsh. “Welcome Home (Sanitarium)” was supposed to be the ballad of the moment, but it skews its goal becoming one of the group’s most beautiful and original songs. It starts sweet, but soon begins to literally ooze anger, in Hammet’s powerful riffs and in the tight voice. The final climax above the final guitar flow is the most beautiful thing a metal band can do.
Following is the devastating “Disposable Heroes” perhaps the best episode of Metallica's entire career, comparable only to “The Call Of Ktulu”. The distorted guitars, the insistent drums, the angry voice and, once again, the politicized lyrics flow into a sound magma at the limits of the human. There are no let-ups, almost nine minutes of blind fury without breaks; the guitars are perfect to support the voice that declaims its denunciation. It's edgy music, difficult, but perfectly orchestrated and perfectly played. The guitar cuts, it doesn’t smash eardrums. Granite-like! “Leper Messiah” with its powerful riff perfectly continues the theme of Battery and Disposable Heroes. “Orion”, an instrumental track, very beautiful and well-orchestrated. The harmonic level of the track is excellent. In the finale, the cascading guitar run impresses itself above the track's main riff. Played at Burton's funeral, it is Metallica's requiem, a perfect manifesto of the group's classical, yet always modern, side. The finale “Damage, Inc.”, is an carnage for the ears. Scything drums and a tight voice. One of the most extreme tracks by Metallica, especially due to the relentless drums that lay you down. A perfect ending.

In conclusion, Master Of Puppets is a masterpiece, though being of a genre not enjoyed by all, the allure of these songs is undeniable; it’s a well-written, well-played album and, unlike the previous ones, well thought-out and designed.

THE BEST METAL ALBUM.