Elektra Records - 1986
9.5/10
Seeing that Ride The Lightning expanded on the thrash metal sound that was in the works, Master Of Puppets more or less reinforced this by cranking out eight more songs in a similar vein. Metallica, if anything, came in clutch and made what is likely their cleanest record from the thrash run in 1986, giving way to not only more memorable chops, but sophisticated outlets for similar emotions. The Bay Area legends boast elements of depression, anger, and likely the clearest expression of reality to date in their third record. Its constant in that manner only adds loads of muscle to the already beefy riff foundation from cover to cover.
By this, I mean that it takes a pretty immense level of skill to make the likes of “Welcome Home (Sanitarium)” and “Disposable Heroes” fall back-to-back without feeling inconsistent in the least. The production as a whole is truly flawless, from everything to the deep but swift distortions of the rhythms to the echoing weeps of the softer leads. Moreover, “Welcome Home” utilizes the latter to carry an entire armory of depression represented in somber passages, and it truly wouldn’t feel the same without taking on a resentful angle for the back half of the song. This in particular is why it still fits so well with the fury of “Disposable Heroes,” one that utilizes Metallica’s strong ear for proper repetition for suspense in the early days; it’s a shame that that wouldn’t last forever.
Both the repetition precision and the use of build-up work as key factors to Master Of Puppets, something notable on the previous release as well. The infamous title track is likely an even more obvious example of this, especially with how it inverts the formula by cooling down only in the center. Opener “Battery” has the same energy, but focuses on the speed metal element, much like closer “Damage Inc.” (though I would argue that the writing on the closer is far inferior). That leaves the doom influences that make up the bulk of two of the songs. “The Thing That Should Not Be” takes a creeping approach, focusing on the lyrical narrative of unsettlement. Alternatively, “Leper Messiah” reinjects the element of anger that swings off of “Disposable Heroes,” likely being my favorite tune on the record. You could argue that “Orion” does this strictly in the form of instrumental, but the lead guitars here take down the heat a notch. Regardless, not a note feels out of place, and for that I love this.
Really, I would say that the most highly-praised disc of the entire thrash metal scene is also one of the most accessible strictly because of how well the production is able to let the heavier parts appeal to a greater audience. It was an expansion of what came before it, and while I still may prefer that first iteration in 1984, it’s an absolute masterpiece in its own right. By this point, the band was long into focusing on specific ideas, and their potential as songwriters was absolutely noticed. If I had to start someone off with a thrash metal album, it would be this one, strictly because of how much ground it covers. It isn’t all about being fast and hostile, but taking that attitude and applying it to all corners.
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