Megadeth
Endgame

In one of the recent interviews, Dave Mustaine told us that the songs written for Endgame were the best he had created since the days of "Countdown To Extinction". Such a bold statement created an above-normal expectation for Megadeth's latest studio effort. After the blunder of "Risk", Mustaine provided us with three noteworthy studio performances: "The World Needs A Hero" is a decent album with good creative ideas, "The System Has Failed" is even more convincing and serves as the right bridge to "United Abominations", the best so far after "Youthanasia".

That said, some more demanding fans still miss the band's golden days and don't know what to make of the recent albums. After listening to Endgame, we can say that this time Megadave has made everyone agree; this time, he felt that everything was working wonderfully, that the riffs and the unpredictability of the song structures would even excite a mammoth. The album in question is a bomb, fast, vicious, with a devastating sound, a complete, dynamic work, among the best Megadeth has ever produced, not just in the recent period.

From the intro "Dialectic Chaos", you can tell they mean business, a fast and aggressive instrumental intro that highlights the guitar virtuosity of the Mustaine/Broderick duo (Nevermore, Jag Panzer). Through pyrotechnic duels, they suitably thrill the listener in anticipation of the next song, "This Day We Fight!", a wall of sound built at breakneck speed. Shawn Drover hits like a madman while Mustaine grinds riffs and angrily snarls the song's lines. The band doesn't slow down for a second, choosing to attack with violence and always push to the maximum.

"44 Minutes" is characterized by proud and rock-solid mid-tempo verses; the refrain reveals a melodic component of a song that would not be out of place on an album like "Countdown To Extinction". Mustaine sings deeply and intensely, with an excellent solo further enriching one of the best episodes on the entire album. "1,320" is a song with an '80s sound that harkens back to Megadeth's early works. The rhythm section is powerful, highlighting the magnificent work done by Andy Sneap in production. The guitars sound as sharp as razors, and the riffs are some of the most traditional ever proposed by the band.

"Bite The Hand That Feeds" has an architecture reminiscent of the early phase of Megadeth's career, with time changes, accelerations, and decelerations masterfully handled. The song only falls short in the immediacy and engagement of the chorus, but drummer Shawn Drover's work is excellent.

The title track "Endgame", with its gallops and irresistible vocal lines, proves to be exhilarating and possesses all the elements that distinguish Megadeth's trademark. The '80s power and vibe combined with a devastating modern production make this track a true masterpiece. The six-minute duration doesn't diminish the song's immediacy, thanks also to ingenious tricks and slight time changes that enhance its value.

The first single from Endgame, "Headcrusher", is a fast track, pure heavy metal, certainly devastating live. With "How The Story Ends", we approach the end of the listening experience, but there's still time for one of the best extracts from Megadeth's new effort. The sound of "How The Story Ends" combines a thrash core with more traditionally heavy elements. The nervous and frantic rhythms slow down in favor of an inspired melodic line that will never leave the song.

"The Right To Go Insane" closes this surprising album, which brings the Megadeth name back on high perhaps better than we could have hoped. It is undoubtedly a work that will delight the many fans of the band.