Megadeth
Dystopia

For all those who grew up with metal, in its various forms, a name like Megadeth has always been a point of reference, even if the brilliant first part of their career faded when the redheaded Mustaine started producing pyramids of crap, reaching a pinnacle with "Super Collider." The arrival of the fifteenth studio album carried with it the doubts of the latest works (according to the author, the only one worth saving is "Endgame") and the departure two years ago of two members: guitarist Broderick and drummer Shawn Drover said goodbye and left. A few months later, Dave Mustaine announced two significant names to replace those departing. The lineup was reconstructed with Chris Adler (Lamb of God) on drums and the Brazilian Kiko Loureiro on guitar, a famous and flamboyant guitarist of the power/prog metal band Angra. With a mix of fear and curiosity, "Dystopia" emerged.

What can be said immediately after assimilating the CD is that we are very far from the smoking mess of the previous album. It must also be said that we are equally distant from the miracle that some (fans and critics alike) claim, looking at this work as a return to the glory days of the late '80s and early '90s. So, hold back on the premature praise or condemnation.

The first impression is that good Kiko has not led Mustaine to touch on prog/power regions, avoiding a mixture perhaps indigestible for many fans. "Dystopia" sounds good, maybe too good, somewhat like all the new works from the big names in metal: except for Iron Maiden, still faithful to live recording, many have now relied on sounds so crystalline and clean they seem almost fake and stereotyped. Sonic plastic for those accustomed to the rawness inherent in a genre like metal. That said, there are no "carioca" diversions and Megadeth's latest effort is of clear thrash/heavy orientation without particular experimental upheavals. The opener "The Threat is Real" clears any doubts with Mustaine's usual grating riffs and Kiko's solo inventions. Few frills, song form, and Mustaine flaunts his graceless drunkard's voice, keeping the tone low and avoiding flights that are no longer sustainable. A trend he will carry on throughout the record, continually smudging the vocal lines. The title track seeks more melody (which is, in truth, always present throughout the album), while "Fatal Illusion" takes on a more muscular tone, and even the understated Ellefson makes himself heard with his bass. It's an album opening that clarifies everything that will follow: fortunately, the quality is on a totally different level compared to "Super Collider," but despite everything being in the right place, it lacks that general quality "quid" to truly say "Megadeth is back." And indeed "Bullet to the Brain" leaves very little, and "Death From Within" is marred by a wrong and utterly ineffective chorus.

That Loureiro's guitar work would fit into the band's classic sound without upheavals was perhaps predictable. The Brazilian puts his technique at the service of the group. But it's when the two minds collaborate that the best things emerge: the political tirade "Post American World" recalls the martiality of "Symphony of Destruction" (with due distances), while "Poisonous Shadows" is perhaps the darkest and most prog-oriented track on the CD, as well as one of the most interesting. Both tracks are joint works by Mustaine and Loureiro. The last tracks are less impactful, except for the bullet "Lying in State", a callback to the headbanging of yesteryear.

"Dystopia" is overall one of the best things branded Megadeth in the last 10/15 years, certainly a heavenly level compared to what came before this album. The new band members work well, and Mustaine with his coarse voice is better than on many other occasions. The songwriting is quite inspired, even though it doesn't invent anything new, but at least it brings the band back to a classic thrash/speed sound with vintage appeal. Nothing to speak of a rebirth, but with "Dystopia" one can keep some hope alive for the future.

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