It is Countdown to Extinction taken to its most nightmarish conclusions, and when Mustaine lets out a “Huh!” half way through “Super Collider”, just before another nauseous spin through the song’s toothless chorus, you know things are not as they should be. Mustaine’s vocals - which have always been Megadeth’s weakest link - have been pushed to the front and the technical riff wizardry has been diluted to service his vocals it’s indicative of the band’s approach to the album as a whole. The title track off Super Collider is a ghastly attempt at writing an arena rock song that even Bon Jovi would have thought twice about releasing as a B-side. Surely it was too soon to have strong, new material compiled? And when the first single off Super Collider, the title track, was released, this initial concern was confounded. The warning signs flew red the moment a new album was announced. It’s the band’s second album in a row with producer Johnny K (Machine Head, Black Tide), Super Collider. With less than two years having passed, we now have another new Megadeth album upon us.
And as Mustaine has been slowly disintegrating publically through ill-measured insults and radically opinionated sound-bites in the time since its release, the future of Megadeth once again looks frail. It sounded rushed, and the song-writing was limp in comparison, with some of the riffs and melodies leaning on old ideas and lacking that characteristic bite of Megadeth’s classic material. Megadeth took its foot off the gas when it came to following up Endgame, as 2011’s Th1rt3en lacked the killer instinct and the band began reverting to bad habits. It was a sigh of relief for Megadeth fans the world over who had to trudge through the five albums since 1994’s Youthanasia looking for hidden gems amongst the good, bad and mediocre. Working in conjunction with this came the song-writing sheen that made Countdown to Extinction, for better or worse, a massive commercial hit. Musically, Endgame placed weight on the technicality and tenacity that made Peace Sells… But Who’s Buying and Rust in Peace thrash metal masterpieces.
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It seemed as if Dave Mustaine had put all of the personal and professional drama behind him, and with original Megadeth bassist Dave Ellefson rejoining the band in 2010, and drummer Shawn Drover and guitarist Chris Broderick providing their expertise, Megadeth became truly relevant again. But the release of 2009’s Endgame revealed a revitalized and focused Megadeth intent on showing the world why it was regarded as one of the four thrash metal pillars upon which the genre was built during the late ‘80s. Megadeth is in fine form and Super Collider only adds a fresh boost of octane to its fast-racing engine.After the double platinum success of 1992’s Countdown to Extinction, it’s fair to say Megadeth entered into lengthy periods of creative blight during the dying years of the ‘90s and most of the decade that followed.
Mustaine’s never been afraid to ask the “big questions,” like, “If this is living, what the hell is living for?” In other words, he still sounds like he’s good and pissed. (Mustaine talks about the “… taste of a fist” in one song, and then poses the question, “What do you think your fists are for?” in another.) But there’s also young adult, working-class material, like the reference to being “trapped in a dingy corporate cubicle hell.” The clever poetry is mostly aimed at young people in the real world, and it goes a long way in offering “think for yourself” encouragement, but it’s conveyed in a way that a teenage boy can understand.
The lyrics seem to parallel his faith without overtly proselytizing with his words. Musically, Super Collider is an aggressive assault that majors on the lightning fast riffage of Mustaine and Chris Broderick – and there’s lots of it. Most critics agree that Megadeth only hit one bump in the road in their entire career (they point to the Risk album as that bump, which this reviewer thought was great), and all this speaks highly for an artist – especially one venturing out on his own new label (Tradecraft). is going to cut the mustard sonically, performance-wise or material-wise. One never has to wonder if a new album by Dave Mustaine and Co. Love ’em or hate ’em, Megadeth exists in a sphere that steamrolls with fast, heavy metal, creativity that is beyond the “does it suck or not?” level of quality.
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