The main melody of "Off the Edge" is hardly as nervous and nervy as it should be, though kudos at least to Mustaine and Broderick for turning out a crisp tag solo.Īt last, "Dance in the Rain" begins to pull this album up with a brilliant, maudlin cello intro and a slow-winding sequence of agitation spotlighting another one of Mustaine's capitalist pig tirades.
"Off the Edge" might be Dave Mustaine's most personal invitation into his brain canals since "Sweating Bullets" from "Countdown to Extinction", but the former offers little payout. Instead, we get to hear a sickly "whoa-ohh" section on the bridge. Shawn Drover should've been allowed to loosen up his tempered trip hammer plods to give the song tightness. Afterwards, "Built for War" tries to re-establish the earlier momentum of the album, but it doesn't quite catch despite the spelunking note sections and suggestion of full-on cataclysm. Nowhere near as offensive as "Crush 'Em" from "Risk", this deliberate ploy to swing an FM vote is a bit annoying, even if the constantly tinkering guitar work compensates for the generic jock rock feel of the song. It's the ill-advised third track "Burn!" that presses the anxiety button despite a scorching guitar rip in the opening. Mustaine's solo on "Super Collider" is abbreviated but spectacular. It is this album's answer to "Train of Consequences" from "Youthanasia" with less shred. Meanwhile, the title track slides out afterwards on the rails of a tasty bass line from David Ellefson and sharp guitar splashes despite the simplistic rock verve of the song. Warning listeners about the perils of painkiller addiction (specifically Ox圜ontin), "Kingmaker" chugs and chugs like a true MEGADETH jam should. While keeping to a mid-tempo crunch mode, the shredding by Mustaine and Chris Broderick is delicious, much less their manic tradeoff solos. The opening number "Kingmaker" opens "Super Collider" on the right note. The lingering question will be from here on out, how many fans will continue to buy his albums down the pike if he doesn't find some sense of consistency? It's by now evident Dave Mustaine is just as content chasing after the perfect rock record as he is establishing MEGADETH as one of the fastest bands in the land. It does leave to reason whether or not "Endgame" will mark the last time MEGADETH is quantified as a true thrash band. It's understandable why so many people are freaked out by the velocity-stripped "Super Collider" after so much potency leading up to this. In fact, most fans considered "Th1rt3en" a primer for Ellefson to heat up his treads and that the subsequent "Super Collider" would be, well, anything but what it is. While scaling things back in tempo on 2011's "Th1rt3en", David Ellefson had rejoined the group and there seemed no real cause for panic since it was a heavy album. With the blistering fast "Endgame", Dave Mustaine managed to rope back most of his thrash flock.
#Supercollider album full#
It was 1999's "Risk" that caused alarm amongst the metal faithful until MEGADETH started climbing out of its snare of confusion on "The World Needs a Hero" then rebounding in full with "The System Has Failed". "Youthanasia" is gangbusters for what it is, at least for the first half. Love them or hate them, "Countdown to Extinction" and "Cryptic Writings" are solid hard rock albums. He has the balls to poke at himself on the mock termination notice signed by Vic Rattlehead on the album's inlay art, but how much of the jibe truly hits home?įor longtime MEGADETH fans, it was tough to wade through the band's mainstream output of the nineties after the speedfreak supremacy of "Killing Is My Business and Business is Good", "Peace Sells But Who's Buying?" and "Rust in Peace". However, the offsetting afterthought to "Super Collider" is that Dave Mustaine must live with an unbearable set of demons for him to keep toying with his fans like he does. One, it's nowhere near as bad as the first wave of critics have tomahawked it. Already the most controversial metal album of year, MEGADETH's 14th hike "Super Collider" evokes two presiding emotions.
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