Megadeth
Risk

THE REVIEW

The album that marks Megadeth's definitive change of direction.

If since "Countdown to Extinction" the group had already softened their sound, moving from the thrash of the early albums to a more classic and catchy heavy metal, with this release, dated 1999, there is a further softening and denaturing of the overall sound, despite the lineup being the same that produced the thrash metal masterpiece "Rust in Peace" nine years earlier (with the sole exception of Nick Menza, replaced on drums by Jimmy DeGrasso).

In this "Risk", in fact, there is no longer a single note that hints at the metal, however rather tight and heavy of "Countdown...", much less the thrash that had brought so much praise and acclaim to the 'Deth in the times of "Rust in Peace": here we are faced with nothing more nor less than a radio-friendly pop-rock (not by chance it was defined by the 'Deth themselves as "radio-rock"); an attempt to draw closer to the masses and gain a larger audience, which, however, did not happen at all, given that the album in question turned out to be a half-flop, with very few sales especially in the Old Continent.

Turning to the analysis of the present music, the opener "Insomnia" already makes clear the coordinates of the entire CD: very simple and direct riffs that accompany Mustaine's voice, which has long since lost the rage of the early days in favor of a certain pursuit of melody and interpretation; the presence of synthesizers and electronic effects is important and represents a novelty that will also return in other songs, such as in the psychedelic "The Doctor is Calling". The following "Prince of Darkness" is one of the best tracks: a fairly original intro that then opens into a song with very catchy riffs and easily memorable melodies: it is the only one that somehow seems to recall the MegadetH of the 'heavy' period.

Another noteworthy track is the final mini-suite in two parts: "Time: the Beginning" and "Time: the End", the first a sweet acoustic ballad well-interpreted by MegaDave, the second a short, very 'heavy-oriented' piece supported by the granite guitar riffs and the central solo: it is the "heaviest" track of the entire album. In between, the clear demonstration that the band's intent was to attract more and more MTV-dependent audiences: the CD is indeed full of catchy songs, which had good success precisely as singles ("Crush 'em" is one of these and is one of the generally better episodes), but especially many Aerosmith-style ballads: three in fact, "Breadline", "I'll be there" and "Wanderlust".

Of the three, the best is certainly the first, if only for the damn catchy chorus; the second is striking for the fact that MegaDave sings "I'll be there for you" like a slightly rougher and angrier Bon Jovi; the third is a song that starts very well with a calm verse and a slightly more sustained chorus, but from the middle on it loses itself until it becomes chaotic and confusing in the finale. Left are "Ecstasy" and "Seven", fairly banal pieces that add absolutely nothing: everything is also very catchy and easily memorable here, especially the first, a perfect song for a night on the beach with friends and an acoustic guitar...

In short, it's not a completely throwaway album: certainly, the 'Deth are no longer what they used to be, the years go by and the desire to further enrich themselves has played its part... but personally, I consider this CD better than its successor and its much-touted return to the glories of the thrash era or even that colossal blunder of the recent remake of "A tout le Monde" with Cristina Scabbia.

In short, an album that earns a passing grade (also because Mustaine and Friedman are not exactly the least experienced in the guitar field): if listened to comparing it to "Rust in Peace," it is obvious that it will be shelved on first listen and labeled as garbage, but if approached without prejudice, one encounters an honest CD, without peaks but also without heavy falls of style.