returns with the thrashingly spectacular and diverse Th1rt3en
Megadeth
Th1rt3en
Roadrunner Records
(www.megadeth.com, www.roadrunnerrecords.com)
By Thom Copher
It would be far too easy, even predictable, to label Megadeth's latest album, Th1rt3en, as
"important." Just for fun, though, let's consider the facts. The band is coming off of 2009's highly
successful Endgame LP and the 25th-anniversary reissue of the seminal Peace Sells... But Who's
Buying platter. Too, of course, there has been the global explosion of The Big Four concerts. It
would appear that a top-notch effort - which has been the buzz surrounding Th1rt3en - would once
again push Megadeth to the pinnacle of the heavy-metal world.
The fact of the matter, though, is that guitarist/vocalist/songwriter and overall main Mega-dude
Dave Mustaine has, in a rather low-key way, continued to manufacture music at an unparalleled pace
since the fracturing of the band's "classic" lineup in the late 90s. Given that observation, Th1rt3en
could simply have the projection of business-as-usual. That, however, is when Mustaine goes for the
jugular. Early on you get that adrenalized rush and realize that Th1rt3en IS something special.
"Sudden Death" kicks things off with Megadeth exercising that which sets it apart from its thrash
contemporaries - orchestral riffing and precise trade-offs between guitarists Mustaine and Chris
Th1rt3en
Roadrunner Records
(www.megadeth.com, www.roadrunnerrecords.com)
By Thom Copher
It would be far too easy, even predictable, to label Megadeth's latest album, Th1rt3en, as
"important." Just for fun, though, let's consider the facts. The band is coming off of 2009's highly
successful Endgame LP and the 25th-anniversary reissue of the seminal Peace Sells... But Who's
Buying platter. Too, of course, there has been the global explosion of The Big Four concerts. It
would appear that a top-notch effort - which has been the buzz surrounding Th1rt3en - would once
again push Megadeth to the pinnacle of the heavy-metal world.
The fact of the matter, though, is that guitarist/vocalist/songwriter and overall main Mega-dude
Dave Mustaine has, in a rather low-key way, continued to manufacture music at an unparalleled pace
since the fracturing of the band's "classic" lineup in the late 90s. Given that observation, Th1rt3en
could simply have the projection of business-as-usual. That, however, is when Mustaine goes for the
jugular. Early on you get that adrenalized rush and realize that Th1rt3en IS something special.
"Sudden Death" kicks things off with Megadeth exercising that which sets it apart from its thrash
contemporaries - orchestral riffing and precise trade-offs between guitarists Mustaine and Chris
Broderick. This one particularly reminds one of the axe-heavy "Wake Up Dead" (from Peace Sells).
Next up is the album's first single, "Public Enemy No. 1," which is comfortable with its identifiable
hook and chorus along with harmonic progressions which rekindle the vibe of "Hangar 18."
Three songs in, "Whose Life (Is It Anyways?)" is a maniacally-paced Mega-tune which echoes the
early union of metal and punk - the birth of thrash, as it were - while maintaining a simplistic
structure a la the band's Countdown to Extinction / Youthanasia period.
Dave Mustaine, himself, has promoted Th1rt3en as the first "complete" album he's heard since
Appetite for Destruction, and he ain't just blowing smoke on this one. The album clicks on one count,
not by its attempts to reinvent the mosh pit, but by Mustaine parlaying his various song-writing
strengths. You've got the riff-driven assortment which dominated Megadeth's mid-career style on
"We the People," "Drugs, Guns & Money," "Millennium of the Blind," "Deadly Nightshade" and "New
World Order" (the latter three actually having origins which date back to the mid-1990s and finally
coming together here). There's also the jazzy complexity which emanates throughout Megadeth's
canon, especially carrying over from Endgame - predominantly here on "Black Swan." Nothing would
be complete, of course, without Mega-style thrash which surfaces with "Never Dead" and "Wrecker."
Next up is the album's first single, "Public Enemy No. 1," which is comfortable with its identifiable
hook and chorus along with harmonic progressions which rekindle the vibe of "Hangar 18."
Three songs in, "Whose Life (Is It Anyways?)" is a maniacally-paced Mega-tune which echoes the
early union of metal and punk - the birth of thrash, as it were - while maintaining a simplistic
structure a la the band's Countdown to Extinction / Youthanasia period.
Dave Mustaine, himself, has promoted Th1rt3en as the first "complete" album he's heard since
Appetite for Destruction, and he ain't just blowing smoke on this one. The album clicks on one count,
not by its attempts to reinvent the mosh pit, but by Mustaine parlaying his various song-writing
strengths. You've got the riff-driven assortment which dominated Megadeth's mid-career style on
"We the People," "Drugs, Guns & Money," "Millennium of the Blind," "Deadly Nightshade" and "New
World Order" (the latter three actually having origins which date back to the mid-1990s and finally
coming together here). There's also the jazzy complexity which emanates throughout Megadeth's
canon, especially carrying over from Endgame - predominantly here on "Black Swan." Nothing would
be complete, of course, without Mega-style thrash which surfaces with "Never Dead" and "Wrecker."
Megadeth: David Ellefson, Dave Mustaine, Shawn Drover and Chris Broderick
Part of the strength found on Th1rt3en is the now-veteran status of guitarist Broderick and drummer Shawn Drover. The zen factor, though, rests in the return of
founding bassist David Ellefson. The connection which Mustaine and "Junior" share was apparent from Megadeth's formation and up to their rift in 2002; that panache
resurfaces once again with Ellefson cementing his status as thrash/speed's Lord of the Low-End. Simply put, one gets the sense that all of Megadeth's pistons are once
again firing in unison.
At this juncture, there's (of course) the unavoidable question: How does Th1rt3en rate historically with Megadeth's library? Suffice it to say, the album doesn't exactly
break any new ground. It does, however, gather the band's strongest elements, dispensing them into what may very well be Megadeth's most diverse album to date. I
have stated before (in reviews for both the Rust in Peace: Live and The Big Four DVDs) that the Mustaine/Ellefson/Drover/Broderick lineup could be Megadeth's strongest
yet, and I feel comfortable with that assessment now that the band actually has new music on the racks. Th1rt3en takes what Megadeth does best and turns it up a
notch or two for an album which can easily hold its own with the classics in the storied Mega-catalogue.
founding bassist David Ellefson. The connection which Mustaine and "Junior" share was apparent from Megadeth's formation and up to their rift in 2002; that panache
resurfaces once again with Ellefson cementing his status as thrash/speed's Lord of the Low-End. Simply put, one gets the sense that all of Megadeth's pistons are once
again firing in unison.
At this juncture, there's (of course) the unavoidable question: How does Th1rt3en rate historically with Megadeth's library? Suffice it to say, the album doesn't exactly
break any new ground. It does, however, gather the band's strongest elements, dispensing them into what may very well be Megadeth's most diverse album to date. I
have stated before (in reviews for both the Rust in Peace: Live and The Big Four DVDs) that the Mustaine/Ellefson/Drover/Broderick lineup could be Megadeth's strongest
yet, and I feel comfortable with that assessment now that the band actually has new music on the racks. Th1rt3en takes what Megadeth does best and turns it up a
notch or two for an album which can easily hold its own with the classics in the storied Mega-catalogue.