Metallica
Master of Puppets

THE REVIEW

The Metallica are left stranded, the tour bus breaks down, and they try to hitch a ride. Otto, the school bus driver, a huge fan of the band, can't believe his eyes when he sees his idols on the street. But he's mistaken for a poser, and the Frisco foursome decides to hitch a ride with the Mole Man, at the time a big fan of the band and apparently the former love-boy of the grandmother of one Lars Ulrich, thus speeding off on the pickup of their beloved aficionado...

If even a semi-creative genius like Matt Groening, after having given citations and featured guest stars of sometimes questionable value like R.E.M. and Blink-182 during his episodes of America's most famous yellow family, over more than two decades, also gave space to one of the world's most famous rock bands through a small cameo, you understand that whether you like their sonic recipe or not, you cannot say you've never heard of or listened to, even for a fragment of your life, their offerings or learned about their famous extra-musical adventures.

So much so that in recent years, from suburban bars, the noun Metallica associated with the verbal predicate change and connected to the object fame and money must be part of everyday discussions of any metalhead, perhaps surpassed only by past discussions and suspicions about Rubentus and the now fading Moggi era.

"Master Of Puppets" can boast the classic and historic base quartet of the combo (as could be Mustaine-Friedman-Ellefson-Menza for Megadeth) with Burton here for the last time called to lend a hand before the tragedy.

Joy and brightness, epicness and glory are the adjectives befitting the initial doublet and respectively "Battery" (acoustic intro with a Spanish-flavored aftertaste) and the title track "Master Of Puppets". On the latter, a clean solo that gives goosebumps, then bringing the composition back to its initial speed levels, with an instrumental part after the second chilling solo. Both pieces would undoubtedly end up in the ideal compilation of a hardcore thrasher along with various "Holy Wars", "Hangar 18", "Over The Wall", "Catch In A Mosh", "Trial By Fire", and so on.

Let's add an instrumental that has little of thrash, namely "Orion" among the most beautiful things the group has composed with transitions teetering between meditative interludes, distorted and chameleonic slow and fast solos. Mostly developed by Cliff Burton, it can be considered his testament: the piece is divided into two parts, separated by splendid claustrophobic bass lines that evoke underwater landscapes and surreal scenarios.

While apocalyptic levels are reached with the explosive "Damage Inc." opened by a long intro with a faint psychedelic flavor, flaunting one of the 'Tallica’s killer riffs and an exceptionally virile Hetfield. On similar tones, there's also the lengthy "Disposable Heroes".

However, two pieces don’t seem up to the level of those previously mentioned at the beginning. Consider the slow and dark Sabbath-esque "The Thing That Should Not Be" and "Leper Messiah", the episodes that stand out the least among the various missiles launched by the American destroyer, yet they don’t detract from the value of the platter. Meanwhile, "Welcome Home (Sanitarium)" sweet semi-ballad opened by delicate arpeggios that gain speed as the score is consumed, follows the compositional styles of "Fade To Black" and "One" showcasing Kirk Hammet's melodic taste. Here we are reminded that the ballad was still present for exploration and compositional expansion and not for mere execution of contractual obligations and to recruit people outside the metal scene. The search for melody by the combo is still appreciated, offering a splendid atmosphere here and even the best slow pace of their repertoire.

In hindsight and going beyond the seven notes and making some reflections, already from this "M.O.P" you could sense who the "Judas" of thrash would be that would betray the faith and more, according to purists of the genre. To put it bluntly, it was clear that Slayer or Testament would almost never be seen exalting in the media bandwagon and almost never putting a slow piece on their most important albums, see "Reign In Blood" or "The New Order" for example. The same Megadeth, decidedly more melodic than their cousins, already seem more challenging especially on the principal album ("Rust In Peace") with much more complex songwriting. Observations and analyses entirely neutral, not to be seen as mere criticisms of the Four Horsemen.

The lyrics address social themes and harsh criticisms of war. While the title-track’s lyrics can have different levels of interpretation, namely drug addiction and the powerful/submissive relationship, "Welcome Home (Sanitarium)" gives space to reflections and suffering of a Vietnam War veteran. Finally, another theme addressed is the attack against American televangelists.

Rasmussen's production endows the work with claustrophobic, heavy, and compressed sounds. Production that perfectly connects to the mood of Lovecraft's tales, which have always inspired the band. It goes without saying that the work boasts an absolutely excellent level of songwriting and style, where thrash gets contaminated by splashes of NWOBHM that partly soften the roughness present on the CD, making it excellent even for a novice first starting out with extreme musical horizons.

It's superfluous to distribute flyers in the suburbs inviting people to the feast of the Master and his Puppets, as almost everyone has now participated and consumed the dish. However, for those who have not yet approached this work made with heart and no specific targets, it would be a good thing to do. This, ladies and gentlemen, is tHrasH metal.