Megadeth - Endgame

As I said last night, I've been highly anticipating this, the thrash overlords' 12th studio release. Endgame is everything you would expect from a Megadeth album — crushing riffs, growling, pissed-off vocals, blistering social commentary, in-your-face brutality. With yet another new member since the 2007 release of United Abominations (Guitarist Chris Broderick replaced Glen Drover in early 2008 after Drover left the band to attend to his family), Dave Mustaine finally appears to have exactly what he wants out of his supporting cast. The new crew seems more than content with just keeping their mouths shut and letting the metal do all the talking.

Endgame is truly the quintessential post-rebirth Megadeth album. (The group was disbanded in 2002 after a freak nerve injury to Mustaine's left arm.) Every work, it would seem, starting with 2004's The System Has Failed, has been hailed critically as the band's "return to form" by critics across the country. After that initial effort, United Abominations proved to be more intense and — let's face it — a much better album than the previous effort, displaying a focus and articulation that Megadeth albums had at times lacked after the days of Countdown to Extinction. *cough* Risk *cough* So the idea was "now Megadeth has REALLY returned." This 2009 release functions as a culmination of these previous efforts, leading to a shredding cornucopia of Megadeth madness.

You see, Megadeth is a lot like a traditional Big Ten team, with Mustaine as the fullback. They set up in the "Power I" formation. You know what's coming, and they bring it to you — no holds barred. Three yards and a cloud of dust later, you feel beaten, bruised, and confused as to why something so archaic in nature just put up more force than anything your latest strategies can muster. Then you look up at the scoreboard and you're down 20 points. Yes, Megadeth is a blatant throwback to thrash metal's 80s heyday, but the sheer integrity of the music Mustaine produces is what keeps his group relevant. There's no need for him to follow metal's latest trends, because he's a big reason why they all got started in the first place (I don't care what Lars has to say about it).

The formula works, and so does Endgame. The first four tracks serve as a straight metal foundation for the rest of the album. Then Mustaine really brings out the critical guns, taking aim with "Bite the Hand," which tackles the hardships presented by America's economic downturn, as he complements his words with a particularly solid groove to open and close the song.

As with United Abominations, the title track brings forth Mustaine's most pointed social reprisal, specifically putting the broken policies of George W. Bush in the crosshairs. "The ex-president signed a secret bill that can land a legal U.S. citizen in jail. And the Patriot Act stripped away our constitutional rights." Mustaine rips on FEMA, immigration, and flirts once again with one of his favorite topics: the idea of a New World Order. Good stuff.

Megadeth may be a relic of the past, too stubborn to follow in the footsteps of today's wave of heavy metal. Rather, Mustaine et. al cherrypick today's good elements and adapt them to their brand of thrash metal. Endgame is not the end result but the latest, and Megadeth seems poised to shred and criticize their way into metal's future.

Can't miss cuts:
"Endgame"
"Head Crusher"