Review by Tymell for Metallica - Master of Puppets (1986) Review by Tymell for Metallica - Master of Puppets (1986)

Tymell Tymell / November 24, 2019 / 0

Anyone who writes reviews, even for something as comparatively straightforward as amateur album reviews on a website, knows the feeling of being so daunted at the prospect of tackling a particular work. Something that's challenging not because it's bad or there's nothing to say, but because it's SO good you know your feeble words will never truly do this thing justice. In terms of its quality or importance to you, it's this unfathomable monolith and you just want to drop down to your knees like Wayne and Garth and cry, "We're not worthy! We're not worthy!".

That's Master of Puppets for me. I won't go into a big life story, but this is basically the album that got me into heavy music in the first place, as I'm sure it was for many others. It's what made me fall in love with heavy metal, it's a gateway into the passion and the creativity of the genre, and also a true peak. For a long time I just had it on repeat, starting it up again as soon as it ended. To some, that alone might be reason to dismiss my take on it as that of a blind fanboy, someone too heavily shaped by nostalgia and youthful impression. I'm not going to say such people are wrong, but I don't care. Master of Puppets is vitally important in my own musical journey, and remains THE benchmark of how to write good metal to this day.

One thing is worth noting though. In all the above, I make little mention of "thrash" specifically, and that's the one caveat I feel the need to make when assessing this masterpiece. Master of Puppets certainly -is- thrash, and there are some outstanding examples of the style on here. But as a whole album, it doesn't feel purely like thrash metal. It feels like it and the band's ambitions go beyond that. This is to their credit: one of the most striking things about Puppets, and Metallica's 80s works in general, is that they manage to utilise the bite and aggression of thrash for a broader purpose, using it to enhance the songs rather than just as an end goal itself. It isn't loud and destructive for the sake of it, and this is a good thing, but it also leaves me hesitant when ranking this simply -as- a thrash metal album. There are other works that thrash harder, even if they aren't as satisfying overall.

Of course, this is not to say there aren't some incredible aural assaults to be had here. The album is bookended by some absolute blitzkriegs, "Battery" and "Damage Inc.", each demanding that the listener lose themselves in a frenzy of destruction, but always mindful of a particularly metallic catchiness. They're aggressive, but as mentioned above, never simply for the sake of it. It's always in service of making the furious ride memorable.

Metallica also clearly have no problem extending this attack into something longer and more grand in scope, as perfectly illustrated by the epic title track and "Disposable Heroes". Heroes in particular is horrifically underrated, remaining one of my all time favourite Metallica tracks with its ferocious pace, grim lyrics and buzzsaw riffing from Hetfield. Right out of the gate, it's an absolute eruption of sound, Lars' crashing drums becoming an opening bombardment to kick off the brutal battle. And Puppets itself, what even needs to be said? With its relentless riffs and dark, twisting lyrics of addiction, it's a journey into dangerous obsession. Both songs more than earn their 8 minute plus lengths, never tiring and always maintaining pressure.

Perhaps the greatest strength present here, and the reason why this album has stuck with so many for so long, is the fantastic variety on show. Metallica can thrash the fuck out in short or long form, but they have far more in their quiver than just that. "Orion" is the very definition of an epic instrumental, a mighty titan striding across the landscape. "The Thing That Should Not Be" is every bit as foreboding as its title suggests, every riff, stomp and vocal brimming over with dread befitting Lovecraft's work. In "Leper Messiah" we get a fantastic example of something that still feels like thrash even as it takes a more measured pace, at least until it cranks things up toward the end. "Welcome Home (Sanitarium)" shows even greater restraint, an ominous ballad building to a well-earned explosive finish. Like "Thing", there's a darkness rising up here, but this one from in the mind rather than an other-worldly horror.

It's this that keeps me coming back to this album time and time again, a variety of approach coupled with an ironbound consistency of quality. Every song on here is solid gold, often in their own special way, without a single wasted motion.

If you're on here reading this, chances are you've already listened to this and have your own opinion on it, and I'm sure my review isn't saying anything that hasn't been said more eloquently by others. But I'm not going to force myself to write something edgy and ultimately untrue just for the sake of some "hot take" on this classic album. While other albums have since surpassed it in sheer heaviness, speed, technicality, and a bunch of other individual ways, Master of Puppets remains the gold standard for quality heavy music. It isn't just here to have a good time or pad out some great songs with a bunch of filler. It's a perfectly crafted beast that set a new bar for just what heavy metal had to offer. I'm not worthy, you're not worthy, none of us are. We can only bow down to the Master.


Choice cuts: EVERY DAMN MINUTE OF IT

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