Megadeth: "This IS the news!"

Megadeth leader Dave Mustaine has always been one of metal’s most controversial figures. Known to some as the Guitar God/songwriter behind one of the best, most influential, and most socially conscious metal bands of all time, he's also widely known as the nasally-voiced, sharp-tongued band-dictator whose thrash project was never as good as the one he was kicked out of in 1983. There’s some truth to all the aforementioned arguments, but everyone can agree that Mustaine is a survivor.

He overcame a violent childhood and years of heavy substance abuse, outlasted hair metal, rap-rock, and nu metal by sticking to his guns, and most recently knocked out one of Megadeth’s best albums (2004’s incendiary The System Has Failed) in the face of a career threatening injury, a complete lineup and label change, and 10 years of average to sucky records. Since then, he’s been on quite a winning streak, organizing a first-rate annual metal tour (The Gigantour, which trumps the bogged-down Ozzfest, Hot Topic-peons Sounds of the Underground, and the toothless Family Values in both ticket prices and quality bands), signing with Roadrunner, and saving the cartoon universe from aliens with a scorching live performance.

Megadeth’s newest, United Abominations, doesn’t quite surpass The System Has Failed, but it’s an engaging, powerful statement that proves Mustaine and his all-new band (Glenn and Shawn Drover, James LoMenzo) are all on the right track. Think Desire after Blood on the Tracks. Like Ministry, Machine Head, and Nine Inch Nails, Megadeth sounds revitalized by the current state of the union, and the most politically-minded figure in the big four of thrash is in top form on United Abominations. Penelope Spheeris’ assertion that “Dave Mustaine took on the weight of the world and made us all feel better for it,” has never held so true.

“No one is safe when I close my eyes,” roars Mustaine in the blistering opener, “Sleepwalker,” whose enraged narrator suppresses the murderous instincts that dominate his mind. Never again on the record do the band demonstrate such restraint—the next track, “Washington is Next!”, is even better, a belligerent stab at our nation's leaders set to biblical metaphors and blazing guitar solos. Mustaine’s songs get a kick in the ass from the band; Glenn Drover trades solos with Mustaine almost excessively and always enjoyably, and the rhythm section changes speed enough make sure the songs don't fall into the more conventional structures that had been dooming Megadeth’s music in the second half of the ‘90s. No sign of Risk here—“You’re Dead” and “Pay for Blood” hit like a high-speed crash, and the closer “Burnt Ice” ensures that this is Megadeth’s angriest record in years, leaving listeners to wonder if the whole thing was just a nightmare. I hope it wasn’t.

United Abominations is not perfect—the radio-friendly remake of “A Tout Le Monde” featuring Christina Scabbia is the biggest mistake Mustaine’s made since suing Dave Ellefson. In fairness, it’s still a great song; Mustaine and Scabbia’s voices contrast nicely, and it’s good to hear the Lacuna Coil frontwoman sing on a track far worthier of her voice than anything I’ve heard from her mediocre band. However, it’s still frustrating to see Megadeth tread water and waste disc space by covering a song they released 13 years ago, especially when it replaces the cover originally intended for the disc, a Dethed-up version of Zeppelin’s “Out on the Tiles.”

But these gripes are minor. The world should be thankful that Megadeth are releasing strong, relevant music that outshines most rock being released nowadays. Record-buyers may flock to the newest Linkin Park record, also released last Tuesday, but there’s no doubt as to who made the bolder, more focused, and (just as important) louder record.