Megadeth – "Megadeth"

The art of going out with a meh

While the name Megadeth hardly merits any further presentation in a forum like the present one, I must admit that until a few months ago, I had no idea they'd be splitting up for good upon this latest, self-titled release of theirs. But then again, ever since Mustaine went all born-again bible-basher and rabid republican on us, I've kinda zoned him out.

Saw 'em live on festivals, sure. Liked their last album, sure. But let's face it, while Megadeth were a solid band, you could still sense that underlying insecurity complex so often prompting the main character to try ever so hard at outdoing his previous band. – And, for that matter, you could also sense it in the areas where it didn't happen.

Either way. Uncle Davey, along with whoever he's got around for the finishing sprint, just put out the final album bearing the name – and, ad hoc, you'd assume, the title – "Megadeth". And for a namesake, it does have that unmistakable dry, present, almost signature Mustaine guitar tone. And it does rock. Even the way that opener "Tipping Point" goes from mean mid-tempo metal to a thundering thrash across the plains with a liberal use of the open E-string is unmistakably Megadeth. The verse lines are catchy, and while the chorus is a bit sparse, the whole thing is, obviously, flawlessly played. Current drummer-guy is doing some neat kick rolls, and the solo is – again, obviously – blindingly legato.

Follow-up "I Don't Care", however, is a bit on the lowbrow side in all its self-aware punk rock attitude. A catchy little tune despite all its lack of future classic potential, and featuring a lovely swaggering guitar solo chase, it also marks one significant drawback feature of the entire album: Mustaine simply speaking the lyrics – and in a seemingly semi-detached manner, all the more so. And in this case, it only serves to emphasize the track's inferiority to what may be the ultimate punk rock anthem: "So What?", as originated by Anti-Nowehere League in 1981 and later on immortalized by Mustaine's aforementioned previous band.

When things kick ass, I'm hearing and appreciating what the band's trying to do; I'm just not as impressed as I rightly should be on an occasion like this.

Following the same inspirational principle, "Hey God?!" also has a memorable lyrical focal point, and its tempo, riffing, and feeling carries some obvious echoes – a bit too obvious, many might say – of this little 1992 Megadeth ditty, name of "Symphony of Destruction". Again, not a future classic; you remember it, and that's that. But then, there's that constant focus on that alleged "god" thingy… I understand that the main character's in charge of writing his own lyrics, but until someone is able to demonstrate clearly and unambiguously what that alleged "god" thingy is supposed to fucking be, I am virtually unable to take the claim seriously.

Then there's the much more technical thrasher "Let There Be Shred", thematically repeating "Back in the Day" off of 2004's "The System Had Failed". It kicks ass as it should, although, as with its two preceding tracks, it's a bit too self-aware and undemanding. In general, when Mustaine is at his best, it's because he's taking himself and the world deadly seriously. He may largely be a bitter man, but having practiced it since his dismissal from aforementioned previous band 43 years ago, he's damn good at being one, and of all self-aware humans, he should know that, and play to his strengths.

It's also around this point that another of the album's drawbacks starts to become evident: The production is so sparsely dry and compressed, this album almost serves as a natural dehumidifier. Careful if wearing contact lenses during playback.

Joking aside, I'm starting to disengage a bit around here. While the chorus in "Puppet Parade" does kinda stick, the verse is yet another round of Mustaine talking the lyrics. I'm not sure if this is all a deliberate attempt at creating an atmosphere of resignation for this, the band's swansong, but it sure doesn't make for a very captivating listening experience. "Another Bad Day" has a cool, chromatically descending riff and kinda makes me reminisce of "Family Tree" from "Youthanasia" ('94), but just like the tracks surrounding it, it comes and goes without leaving much of an impression.

Perhaps the overall problem with Megadeth is that while always featuring technically gifted musicians, as a creative unit, the band always tended to try a bit too hard at attempting things that often mostly worked, but only to a certain extent. Sure, say what you want about how Slayer were always the evil ones of those big four, and Anthrax always the funny ones; at least the both had some personality.

The production is so sparsely dry and compressed, this album almost serves as a natural dehumidifier. Careful if wearing contact lenses during playback.

Don't get me wrong; Megadeth did leave their mark on metal history for many a good reason. And sure, those first four Megadeth LPs (or five, or six, or even seven, depending on how big of a fangirl you are), are arguably splendid albums. It's just that, the main character's often borderline-caricatured vocals aside, something often seemed to be kinda missing. Some hooks. Some stand-outs. Some more to-the-bone of anything. Just like something always seemed to be missing from the main man's life – personally as well as professionally – since aforementioned dismissal from that aforementioned previous band that got away.

Indeed, side 2, while still rocking as it should, simply doesn't feature anything very interesting. When things kick ass, I'm hearing and appreciating what the band's trying to do; I'm just not as impressed as I rightly should be on an occasion like this. And as Mustaine keeps on simply reciting those verses with all the elegance and charisma of your grumpy old neighbor, I start to involuntarily check my messages.

Should-be ending track "The Last Note", obviously meant to be the man's closing statement, does carry a bit of a poignant atmosphere of relinquishment, even in all its tired, gravelly narration:

"They gave me gold, they gave me a name