Megadeth - Super Collider
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Megadeth - Super Collider




To celebrate the launch of the new Megadeth album, a couple of friends and I sat down and listened to the record the only way we know how: over pizza and beer. One of my friends, who came up with the listening party idea, who I’ll refer to as ‘Megafan’, is obviously a huge fan of the band and was in the best position to judge Super Collider as a Megadeth album. Me and the other guy listen to Megadave occasionally, but were keen to see what Dave Mustaine had in store for the 14th studio album.

‘Kingmaker’ kicked things off with a bass intro, and then launched straight into thrash. This is what Megadeth sounds like: heavy riffs, snarly vocals and fast guitar leads.

Controversial title track was next, and Megafan, who had refrained from listening to any of the songs before the album’s release, noted how it sounded like Bon Jovi.

“That’s what the whole internet said”, I replied.

I’m a Bon Jovi fan, but we all know that when someone makes reference to a less heavy band, it’s meant to be a negative comparison. Mustaine is not a great singer, but his vocal style suits the band. So it seems odd that he would write a song like ‘Super Collider’, implementing simple chords, a distinct chorus and a focus on Mustaine’s voice while sticking the guitars at the back. Even the guitar solo sounds like something Bon Jovi’s Richie Sambora would come up with. I say stick with what you are good at; Bon Jovi can produce good radio singles, Megadeth should stick with the strengths exhibited in ‘Kingmaker’.

Maybe things will pick up with ‘Burn!’, so we thought. Good riff! Nice leads! And the chorus is...awkward.

“Burn baby burn!”

Those are the actual lyrics to the chorus. We reacted as if a comedian had just made a terrible joke that ruined the entire act.

We agreed that ‘Burn for War’ was good, despite initially finding the chant in the middle of the song a bit odd, but it actually works quite well compared to some of the other weird stuff on this record.

‘The Blackest Crow’ should have been a disaster. It features a prominent fiddle (yes, that’s right, a fiddle) and the lyrical content tells of a broken relationship. Somehow it works. Unlike most of the album, Mustaine’s lyrics don’t make me sigh in shame, and the metaphor of the blackest crow is actually quite cool!

‘Dance in the Rain’ had some cool ideas that weren’t always executed well...you probably won’t care for Disturbed frontman David Draiman’s guest vocals at the end, as it’s just awkwardly shoved in.

The rest, such as ‘Beginning of Sorrow’ are generic and will be the first songs cut from smartphones when space becomes sparse.

It ended with a cover of Thin Lizzy’s ‘Cold Sweat’. Megafan said it was better than the entire album. He had obviously shown his disapproval many times throughout the listening session and me and the other dude weren’t impressed either. Megafan then proceeded to grab Megadeth’s Thirteen, their previous album released only two years prior, and we listened. The first three songs alone beat the entire Super Collider album.

Super Collider has three good songs (‘Kingmaker’, ‘Built for War’ and ‘The Blackest Crow’) and a decent cover. If you’re a Megadeth fan, get those. Even though the CD album art and booklet is cool, the music isn’t worth spending your money on. The three of us were left disappointed; the songs were uncharacteristically cheesy and many of the good ideas were overshadowed by a number of embarrassing moments.


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