After 43 years and 17 albums, Megadeth bow out with a self-titled farewell that does exactly what it says on the tin. No bells, no whistles, no creative revolution, just high-speed riffs, anthemic choruses, and Dave Mustaine’s signature snarl. Expecting innovation from a band announcing their retirement feels misguided — especially when none of the Big Four have pushed boundaries in years — so a nostalgic victory lap steeped in mid-90s melodic thrash will do nicely.
Opening track Tipping Point channels 1994’s ‘Youthanasia’ with infectious singalongs and shredding, while I Don’t Care recalls the funky grooves, rebellious lyrics, and arena metal whomp of Whose Life (Is It Anyways?) from 2011’s ‘Th1rt3en’. This revisionist approach suits the occasion — it’s Mustaine revisiting the sound that brought him the success he sought after for so long.
What makes ‘Megadeth’ frustrating, though, is how frequently strong musicianship gets undermined by weak vocal takes, and even weaker lyrics.
Let There Be Shred exemplifies the problem perfectly: its opening assault of riffs channels ‘Countdown to Extinction’-era brilliance until overpolished vocals snap you back to reality.
The lyrics descend into self-parody, proclaiming Mustaine was born with a guitar, destined to “bash and to thrash”. It’s a far cry from the band who once interrogated war and religion with lines about brothers killing brothers and questioning who kills on God’s command.
This pattern repeats throughout. Puppet Parade delivers muscular grooves but collapses when Mustaine attempts melodic notes his voice simply cannot hit anymore. I Am War pairs enjoyable riffs with nonsensical proclamations about going to war “swifter than the wind” — awkward self-mythology from a band once capable of genuine political insight. Even Obey The Call, which cribs heavily from Symphony of Destruction, feels more like karaoke than homage.
The rhythm section — bassist James LoMenzo and drummer Dirk Verbeuren — provides consistently tight performances that deserve better material. Their creative rhythms on Another Bad Day and The Last Note prove Mustaine's hired hands can still deliver thrash fundamentals. The guitar work throughout remains technically impressive. But when the instrumental foundation is this solid, the lyrical shortcomings and vocal missteps become impossible to ignore.
The bonus track — a cover of Metallica’s 1984 hit Ride The Lightning, co-written by Mustaine but recorded and released after his dismissal — provides a full-circle moment as he closes the door on a revenge tour that’s lasted four decades. Actually listening to it, though, is like pulling teeth. ‘Megadeth’ isn't a classic, it won’t make end-of-year lists, but it’s miles beyond missteps like ‘Super Collider’ or ‘Risk’. As a curtain call, it delivers enjoyable, unpretentious thrash that understands its legacy without trying to rewrite it.
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