Megadeth
Rust in Peace

THE REVIEW

Following the release of the album “So Far, So Good, … So What!”, an episode of fine craftsmanship but definitely inferior to the wonderful previous chapter, Megadeth went through a period of crisis during which their undisputed leader Dave Mustaine abused drugs and exhibited worrying signs of imbalance.
Serious interpersonal issues with the band’s two new members Jeff Young and Chuck Behler (especially with the former, who was guilty of having a relationship with his partner) drove the singer to exasperation, plunging him into a deep and exhausting crisis, both physically and mentally. After a period of rehabilitation at a clinic and the removal of the two disruptive elements, the charismatic singer identified Marty Friedman and Nick Menza as the ideal replacements: his choice would prove largely positive, and the newcomers would help make the group’s sound increasingly original and innovative, building sonic architectures of rare beauty and best supporting the creativity and talent of the great Dave Mustaine, a guitarist of exceptional caliber and undoubtedly a genius composer.

“Rust In Peace” is the fruit of the work of four artists with extraordinary abilities, equipped with diverse professional backgrounds (Menza has an undeniably jazz inclination, while Friedman spans from fusion to hard and heavy) but united with the lucid intention of creating a masterpiece to be counted among the fundamental records of the genre. Mustaine and company produce extremely elaborate thrash metal that fully justifies the prefix “techno” (too often grossly and indiscriminately attributed to all speed metal bands of the period) by virtue of a truly singular formal perfection and structural complexity (only Jeff Waters’ Annihilator would settle on similar levels). Reaching position #23 on the Billboard chart, the album became platinum, gaining surprising success also in the Old Continent.
The opener “Holy Wars… The Punishment Due,” which brings together under one title two separate entities, is devastating: a sharp text is wisely accompanied by apocalyptic and destructive sounds capable of creating disruptions in the listener. The subsequent “Hangar 18,” prolonged in its oppressive advance, is yet another masterpiece composed by Dave Mustaine: a short and incisive text is entirely overshadowed by venomous and intriguing guitar incursions, creating a sonic vortex with unique magnetic strength. The supporting video, with strong anti-militarist content (as well as the album cover), is one of the most suggestive made by the band and shows the violence perpetrated by government forces on some deformed alien creatures, obvious ideal representations of marginalized and maladjusted individuals. The record continues with the notable but not transcendental “Take No Prisoners,” a song meant to commemorate the allied troop's landing in Normandy but fails to offer us interesting songwriting hints, reducing the topic with a minimal text not up to the band’s standard.

Passing through the magnificent “Five Magics” and “Poison Was The Cure,” tracks with some memorable passages, we reach the frenetic “Lucretia,” a song composed four-handed by Mustaine and Ellefson that highlights an enviable attention to melody, while retaining the traits of the most classic speed metal track. “Tornado Of Souls” is, on the other hand, a colossal example of techno-thrash in which the group showcases all its talent, creating an irresistible piece where the rhythmic section towers over Mustaine’s voice and the two guitars vent their passion in a primal and wild sonic embrace. Closing out are two excellent tracks, the brief but incisive “Dawn Patrol” and the extraordinary “Rust In Peace… Polaris,” characterized by lyrics displaying a dark humor worthy of the best Charles Addams.
Mike Clink’s production (previously worked with Guns N’ Roses on “Appetite For Destruction” and, a few years later, behind the console for the excellent “New Tattoo” by Motley Crue) manages to make an already devastating sound literally explode, elevating the quality of a granite and elegant album that best embodies the techno-thrash mantra. Contrary to its title, “Rust In Peace” proves to be an indestructible work. (Enrico Rosticci)