Four decades seem like eternity when we speak of thrash, which is one of the most demanding metal genres both technically and physically. When we talk about Megadeth, which has always composed at an extremely high performance level, then it’s not surprising the legendary Dave Mustaine is calling it quits with a final self-titled album and tour. However, such an announcement unavoidably brings sadness and nostalgic memories among all of us about the times we came to love this band in the first place.
Coming out three and a half years after the excellent The Sick, The Dying… and The Dead! the final album sees Dave accompanied by James LoMenzo on bass, Dirk Verbeuren on drums and Teemu Mäntysaari (Wintersun) on guitar. It was produced by Mustaine, alongside Chris Rakestraw, with a warm, yet modern sound. First single and album opener Tipping Point is one of the few outright thrash-speed numbers which could well sit in So Far So Good… or Rust In Peace with a stellar performance by both Verbeuren and Mäntysaari. I Don’t Care is very different in spirit and an excellent choice for a follower with its punkish structure and style, clearly a nod towards Dave’s earliest influences when he started playing in the early Eighties. Hey God! once again changes the mood, sounding like something off Cryptic Writings, while Let There Be Shred is another old school speed metal number. Speaking of speed, the only other song until the album’s end which accelerates the tempo more noticeably is Made To Kill, with a very clever structure, nervous tempo changes and an unashamed Eighties influence. Elsewhere, we have some songs which accentuate on the memorable melody lines and choruses, like Another Bad Day or I Am War, which once again remind me of the classic Cryptic Writings. Obey The Call is more moody and atmospheric, which can also be said of the mini-epic Puppet Parade, with its wonderful melodies and hooky chorus. These two, as I have already started making references, are the ones mirroring the Countdown and Youthanasia era as well as (to a lesser extent) the later albums.
Megadeth sounds like a collection of songs which have encapsulated every different face of the band and is representative of all the band’s classic albums, but most of all nostalgically looks back at the late Eighties and early Nineties. Some fans or reviewers will probably call it “safe”, but I think this is Megadeth’s best collection of songs since Cryptic Writings, which was already mentioned several times for a reason. Teemu’s playing is otherworldly, interplaying with master Mustaine as if he’s been in the band for at least two decades and not three years.
The Last Note is a melodic masterpiece with heartbreaking lyrics, a chorus which demands repeated plays and will obviously become a live staple in the final tour – easily the best song in the album. This is such a perfect end of the album that I feel slightly disappointed with the inclusion of the bonus cover of Ride The Lightning. Well, it’s a nice idea by Mustaine to close the circle, but honestly, his version is only interesting for the more updated production and the much more varied drum parts by Verbeuren. There’s also an exclusive bonus track called Bloodlust which only comes in the Target edition of the album and I still have to hear.
Megadeth are waving goodbye with a final album full of great songs, which proudly bears the legendary logo and mascot on its sleeve. What’s left for us is to enjoy it to the max and do what it takes to watch the band live at least one more time.
9/10
Megadeth is out on January 23rd and can be ordered from HERE
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