In the main, previous albums had spent an amount of time in experimentation, changing things up a bit and moving away from the formula that had been the band's hallmark for its first decade. It was far from awful, not like another band of its generation that could be mentioned, but it had alienated some of the fan base, and it was suggested that perhaps they had strayed too far from the template. Whatever may have been the misgivings, there can be little bad said about this album if you wanted something like a return to the band's glory days. of course, this is NOT a return to that, but it has its basis in that, and brings it forward to add a modern, polished sound to the music.
The album opening is a pointer to how the renewed direction of the band has come. "Dialectic Chaos" is a great instrumental, acting as the prelude into "This Day We Fight!", where the music comes at a speed that has been severely lacking in Megadeth's music for some time. It obviously has been a determined effort to infuse this through the majority of the album, because there is barely time to catch your breath at any point during the course of the 45 minutes it takes from start to finish. "44 Minutes" dials it back just a touch without losing the heavy attitude, before zeroing in to "1,320", where the double time and energy of the song is focused on the lyrical content of pace and energy, embellished by the brilliant soloing which is speed personified. "Bite the Hand" and "Bodies" both continue the flow of excellence, concentrating on the heavier aspect of the guitar riffs than the speed metal aspect of the earlier tracks. The title track "Endgame" is a ripper.
The only real compromise to the sound of the album comes on "The Hardest Part of Letting Go... Sealed With A Kiss", which necessitates the remorseful parts at the beginning and the conclusion of the song, punctuated in the middle by a much more atypical blazing guitar sound. This is obliterated by the unadulterated smashing of drums and guitars from the outset of "Headcrusher", the most refined speed/thrash metal song on the album. If not for the clarity in the sound it could be believed it had come from 1985 rather than 2009. "How the Story Ends" takes up from here with a more traditional metal feel, while the final track "The Right to Go Insane" chugs along in comfort.
Everything here is big, fast and loud. Shawn Drover has got his drum kit into gear on this album, as not only does it have a great booming precise sound to it, he has to move between the standard timing and speed to the overpaced radical technique required when the songs reach the peak of their speed. It may not be the most technical he has ever had to play, but he has to be precise which is what he does extremely well. James LoMenzo's bass work is as solid as ever, providing the perfect undertone to the songs which are dominated by the other instruments. Dave Mustaine and Chris Broderick on guitars put in an awesome performance. For a guy who was going to retire because he wasn't going to be able to play guitar anymore, Mustaine does some fabulous stuff on this album. He is matched by Broderick all the way through. Not only do their duelling guitars come across in perfect harmony, Broderick's solo's are blistering in places, fully justifying his elevation to the band on the previous tour.
As a fan you would have to say that Megadeth has earned redemption for any past wrongs with this album. While the first half of the album probably outweighs the majority of the second half, this really does get back to the band's roots by incorporating both heavy riffs and speed solos, all with the typical Mustaine lyrics commenting on a varied amounts of topics close to his heart. Anyone who has steered clear of the band following past inaccuracies will certainly find better material here should they wish to return to the fold, whereas those that have continued to stick by the band will be rewarded for their patience here.
Rating: It doesn't get any better than this, it just feeds my need for speed 4.5/5
No comments:
Post a Comment