Megadeth ‘Endgame’ Track-By-Track Preview

Metal Hammer har slängt upp en snabbrecension där de går igenom Megadeth kommande album Endgame låt för låt. Jag vet inte om Mustaine har sugit massa pillesnopp för att få en såhär extremt positiv genomgång, eller om skivan helt enkelt kommer att vara the shit. Denna låtgenomgång påminner mycket i pepp om Martin Carlssons klassiska genomgång av St. Anger, så detta behöver ju egentligen inte betyda så mycket.

Man blir dock jävligt peppad på att höra skivan. Jag menar, meningar som "The shredding on this track will melt your face and blow your mind" kan ju inte göra annat än cp-peppa. Och ni som säger att Megadeth suger - fuck you! Megadeth rules!







Dialectic Chaos: A truly epic 2-minute instrumental crammed with blazing solos opens ‘Endgame’! Mustaine has recently been telling all and sundry that former Nevermore and Jag panzer man Chris Broderick is the best fellow axeman he’s ever had in Megadeth and on this blistering opening (and throughout the album), the lead trade-off’s between the two are nothing short of mind-blowing.

This Day We Fight!: The instrumental segues straight into a punishing thrash riff and venomous Mustaine vocal-line. It’s a HELL of an opening one-two combo! The pace of it, the unrelenting aggression, the insane fret-work – Mustaine sounds beyond pissed-off and this is going to kick all kinds of ass when it’s blasted out live. The shredding on this track will melt your face and blow your mind.

44 Minutes: A stirring, epic intro (complete with a cop’s radio reporting a crime in progress) gives way to a jarring, stomping riff that dominates the verse and is followed by a huge melodic chorus and even more fret-frying lead guitar work. The second solo has Eastern influences but the punching rhythm guitar packs just as much of a punch as the solo itself.

1,320’: A heavily 80’s inspired opening riff is then accompanied by pounding double-time snare drums. The motorbike-themed track is riddled with suitably fuel-injected riffing and yet more unrelenting solos. Fans of the widdle are going to wet themselves when they hear this record!

Bite The Hand That Feeds: Again, the lead riff on the album is 80’s-tastic but in a way that doesn’t sound dated in the slightest. It captures the vintage Megadeth sound but Andy Sneap’s dynamic, crunching production brings it kicking and screaming into 2009. At this point, it really seems as though Megadeth have created something special with ‘Endgame’. Every single second so far has kicked every kind of ass imaginable. The outro to this tune is mega in a Motorhead-fashion!

Bodies Left Behind: The track opens at a mid-tempo pace that echoes the band’s early 90’s output. Again, it’s Mustaine’s trademark sneer that fuels this inferno. Possibly the catchiest chorus thus far and the track also has the most twists and turns thus far in terms of tempo and feeling (mid-tempo chug through to neck-snapping thrash). This one’s an absolute monster.

Endgame: “Attention! Attention! All citizens report to your district detention centres! Do not return to your homes! Do not contact anyone! Return all of your weapons!” screams a megaphone introduction to the album’s politically-charged title-track before giving way to a chugging bombardment of riffs. Chug turns to sprint after around 2 minutes as those fret-melting lead guitars take over again. “This is the end of the road, this is the end of the line, this is the end of your life, this is the Endgame!”, roars the chorus. Clocking in at just under 6 minutes, this is yet another beast of a track. We know you’ll have heard a lot of hype about this record but it really is THAT good!

The Hardest part Of Letting Go…Sealed With A Kiss: An acoustic opening and subtle strings are backed by a haunting Mustaine vocal lines. Feint lead guitars lurk in the background before crashing through the boundaries. Hard-hitting riffs combine with stabbing violin lines on this odd, hard-rocking ballad.

Headcrusher: If you’ve not heard this one by now, you had really ought to. Check it out here! It’s a Megadeth classic in waiting and if that pneumatic-drill of a riff in the chorus could bang the head of a man with no neck.

How the Story Ends: ‘United Abominations’ was a fantastic record but when you’re getting to track 10 of ‘Endgame’ and it’s giving the best tracks from that album a run for it’s money, it tells you what we’re dealing with on this album. An all-out assault of up-tempo guitar work, a middle-8 that sees palm-muted riffing combine with thunderous double-bass drums and a mammoth chorus, How the Story Ends is yet another killer track. We’re definitely looking at one of the albums of the year here, no question about it.

Nothing Left To Lose: A rumbling bass line leads us into a guttural, low-end riff and a chorus that conjures memories of 90’s Megadeth. After 3 minutes, there’s a truly heroic build-up and all hell breaks lose. Solos fly while the rhythm track pounds like a prize-fighter to the track’s end.

‘Endgame’ not only has a claim to be the best Megadeth album for over a decade (quite an achievement after how good ‘United Abominations’ was), in a year chocked full of awesome albums, ‘Endgame’ is 2009’s best.