June 2016 Album Round Up!

What a month June was. The back end of the month saw me frantically putting together my Mid-Year Album Lists (check my YouTube channel for the video versions or check back with this blog in the next few days), and the month of June itself spawned five releases that ended up beating out albums I’ve been living with for months! Garbage, Gojira, Nails, Apathy, and Be’Lakor all wound up on my Mid-Year lists! June couldn’t have ever topped May, but it was an excellent month for new music! Here are my thoughts on ten albums that dropped:

Seal the Deal & Let’s Boogie – Volbeat

Unfortunately, it is no easy feat to follow up a pair of excellent LPs (2010’s Beyond Hell/Above Heaven and 2013’s Outlaw Gentlemen & Shady Ladies) that blurred the lines between Rock and Metal and nudged both genres forward in the process. Alas, the Danes have returned from half a decade of triumphs with something less exciting and more repetitive. But Volbeat retracing their steps still entails a solid helping of fun, catchy, immediately satisfying Rock songs. I especially dug “The Bliss”, the title cut, and the closing duo of tracks, “You Will Know” and “The Loa’s Crossroad”. Here is a full review. RECOMMENDED

Why Are You OK – Band of Horses

When I sit and consider some of my favorite Alternative music that has ever been made, Band of Horses’ third LP Infinite Arms almost always springs to mind. It’s just a special record for me. Thus it’s a high water mark I can forgive them for failing to reach again on album number five, which otherwise performs as advertised.As Band of Horses continue to execute on their winning formula, much of these tracks wash over you with waves of mellow, calmly reassuring musical passages that occasionally pick up their pace and crunchiness, but still retain that same good-natured vibe. Standouts include beautiful ballads like “Hag”, “Lying Under Oak”, and lead single “Whatever, Wherever”, as well as the bouncy boardwalk soundtrack “Solemn Oath”. Overall, Why Are You OK is not necessarily the type of music that invokes an impassioned response in either direction . It’s pleasant, it’s unassuming, and if it were playing in my childhood home, my mom would walk by and go, “oh, that’s a nice song”. You can flip that evaluation to mean something positive or something negative. I definitely choose positive. RECOMMENDED

The Human Condition – Jon Bellion

Jon Bellion’s debut LP has got to be one of the highest anticipated releases of the summer. His mixtape buzz has been years in the making, and he’s already built quite a loyal fanbase for himself through both his Visionary Music Group affiliation and his ties to several gargantuan hits like Zedd’s “Beautiful Now” and Eminem’s “The Monster” (he co-wrote the latter). The Human Condition, the end result of all this hype, is enjoyable and well-thought out, but pretty spotty. It’s tough for me to sit through sappy, well-worn Pop terrain like “Fashion” or the One Republic knock-off “Maybe IDK” in order to get to tracks I dig like the rap-heavy “New York Soul, Pt. ii”. Nevertheless, these 14 songs have more successes than failures – not to mention these lyrical themes are so millennial-centric – so it gets overall approval from me. RECOMMENDED

Magma – Gojira

With Magma, these French extreme metal masters made the mainstream-ish gateway album that they only hinted at on 2012’s L’Enfant Sauvage. And guess what?? They’re just as convincing playing concise and simple music as they are being epic and long-winded. In fact, borderline Hard Rock track “Stranded” is potentially my favorite! Magma might be slightly flawed and not completely live up to the masterful trio of LPs that came before it, but that’s like saying Megadeth’s awesome Countdown to Extinction doesn’t live up to Peace Sells…But Who’s Buying? or Rust in Peace. One of the best Metal albums of the year thus far. Here is a full review. HIGHLY RECOMMENDED

Rude Awakening – Wiz Khalifa, Juicy J, & TM88

I should’ve learned from Collegrove (this past March’s collaborative mixtape between 2 Chainz and Lil’ Wayne). I suppose I didn’t. But at least Collegrove carried with it the possibility of hearing an occasional flash of brilliance from Wayne reminiscent of his mid-00s mixtape run. Rude Awakening, however, is a different story. I could almost feel the neural pathways in my brain writhing in agony as I got clobbered with one rudimentary turn-up rhyme after another. On the track “All Night”, Wiz Khalifa actually says “I got bars like a jail”, making other lines like “Don’t SnapChat me that pussy, I want it for real” sound like Langston Hughes. Avoid this thing at all costs. NOT RECOMMENDED

Strange Little Birds – Garbage

I got into these beloved ‘90s alt heroes (specifically their self-titled debut) JUST in time for Strange Little Birds, their sixth LP overall. Admittedly, I’m riding a bit of a “discovery high” so check back in with me in a few months, but Strange Little Birds is fucking awesome. It manages to fit in with its modern contemporaries and avoid sounding derivative, yet it successfully recalls greatness of two decades ago. “Blackout”, ripping lead single “Empty”, and “Teaching Little Fingers to Play” – the latter which gracefully addresses growing pains – are among my favorites, but all 11 tracks hit their mark. More thoughts in this video. HIGHLY RECOMMENDED

Handshakes with Snakes – Apathy

Words can’t express what this album means to an old-school Hip Hop head like myself. Handshakes with Snakes is Apathy’s 5th studio album, but the CT veteran’s copious releases are well into the double digits. What we get on this LP is knocking, boom-bap production and thoughtful, lyrically complex bars. A song like “Pay Your Dues”, with a sweet Phil Collins sample, finds Ap railing against entitled, unoriginal new rappers, telling them “you can’t win wars if you ain’t swung swords” and reaffirming his commitment to the craft: “what’s love? Studying Illmatic like the Bible.” “Rap Is Not Pop” is another killer cut, with the MC boldly claiming he’s “Too Kool G Rap for these new school cats.” I’d fucking agree. There’s even a reference to Big L’s “H-E-double hockey sticks line” on “Blow Ya Head Off”. You can’t miss if you’re a fan of gritty 90s Hip-Hop, and for me, this is a contender for indie Rap album of the year so far. HIGHLY RECOMMENDED

Unden!able – Hellyeah

This Metal supergroup began their career with three albums in a row full of cookie cutter, throwaway Groove Metal and lyrics that made Fred Durst and Five Finger Death Punch’s Ivan Moody seem tolerable. Occasionally a song would find its way onto my work out playlist, but I was not a fan. Their fourth LP, 2014’s Blood for Blood, was a noticeable uptick in production and songwriting, with a decent chunk of the corny cut out, but I still wasn’t convinced. Unden!able is an ever-so-slight improvement on Blood for Blood, weighed down by several cringeworthy moments but featuring Active Rock radio slam dunks “Human”, “Leap of Faith”, “X”, and the soaring ballad “Love Falls”, which are juuust enough to tip it over the edge for me. That being said, every now and then I give something the benefit of the doubt and regret it later, and it remains to be seen if Unden!able fits that narrative. Here is a full review. RECOMMENDED

You Will Never Be One of Us – Nails

 The third record from Nails is a fucking exhilarating listen. Before the sludgy eight-minute closer “They Come Crawling Back”, it’s 14 minutes of pummeling Powerviolence/Grindcore/Thrash Metal/Death Metal combos that leave the listener gasping for air. The guitar tone is absurdly heavy, yet the production doesn’t muddy up any riffs or grooves. If you like music that inspires you to grab the cutest baby and just start violently shaking it, this is for you. Personally, it made my Metal Mid-Year List. HIGHLY RECOMMENDED

Still Brazy – YG

I just don’t see it guys. The hype behind YG’s follow-up to his breakout My Krazy Life album isn’t warranted to me. It’s definitely an improvement on that LP, but it’s not the West Coast Hip-Hop landmark that people are making it out to be. Sure, there’s some menacing bravado on “Don’t Come to LA”, and “Gimmie Got Shot” is a satisfying conceptual listen about mooching, but there’s nothing spectacular. But a track like “Bool, Balm, and Bollective” has such an unimaginative hook, and “Why You Always Hatin’” finds YG getting bodied by a singin’ nigga (Drake shows up for a feature and up-stages him). The best thing about this record is the production – “I Got a Question”, for instance, has to be one of the more interesting combination of sounds I’ve heard this year. The 1500 or Nothin’ beat sounds like DJ Mustard meets “Nuthin’ but a G Thang” meets a laser gun from an arcade game. It’s definitely not a BAD album, but it’s pretty good at best, and to my ears, it’s fairly non-essential. NOT RECOMMENDED

Killswitch Engage – Incarnate Review

The official edited version of this review is available here.

With Incarnate, the Massachusetts quintet’s seventh full-length LP, Killswitch Engage faces a similar challenge that Thrash Metal veterans Anthrax faced on last month’s For All Kings. In 2011, Anthrax’s reunion in the studio with classic-era frontman Joey Belladonna yielded Worship Music, an album that shot past its impossible hype and thrust itself into the top tier of their storied discography. But once the reunion magic fades, delivering an equally worthy follow-up is the ultimate test, one that Anthrax, by all accounts, passed with flying colors on For All Kings.

Despite Killswitch Engage being part of a different generation of Metal, 2013’s Disarm the Descent was, in a sense, their Worship Music – the riveting return of original vocalist Jesse Leach that exceeded all expectations, wrestling its way into consideration for KSE’s best since 2002’s groundbreaking Alive or Just Breathing, the landmark that established a blueprint for the entire Metalcore genre. Arriving in the wake of such a triumph as Descent, Incarnate is thus a pivotal record, as the band has the opportunity to reassert their staying power, something they achieve in superb fashion here.

Before the band streamed over half of Incarnate ahead of its release in true 2016 fashion, the two initial singles were “Strength of the Mind” and “Hate By Design”, both quintessential Killswitch: delicate balancing acts between rage and beauty. Riff-wise, “Strength of the Mind” is pure Pantera, with an uplifting Jesse Leach chorus slapped on top, while “Hate By Design” takes an impassioned stand against the destructive legacies that prejudice and discrimination can leave, urging listeners to “redefine your life”. Both tracks undoubtedly hinted at greatness, a standard that is upheld by the majority of the remainder of the LP.

The aforementioned singles – both standouts in their own right – are surrounded by a remarkably consistent track list. There’s the defiant opener “Alone I Stand”, the soaring “Cut Me Loose”, and the sludgy “It Falls On Me”, which brings sharp contrast with its desolate aesthetic. “Embrace the Journey…Upraised” is perhaps the album’s apex, boasting one of Incarnate’s most crushing guitar riffs, a chunky bass riff, and an impeccable mixture of heavy and melodic, which is perhaps Killswitch’s strongest asset when firing on all cylinders. “Until the Day” is another highlight as the band channels Colony-era In Flames for the song’s lively refrain. Elsewhere, the riffs continue a familiar Thrash worship, answered with thunderous double bass drums and the occasional blast-beat. Even when Incarnate does lose momentum, it’s not until the final pair of tracks – the relatively forgettable “We Carry On” and “Ascension” – which by then are easily forgiven. And perhaps most importantly, from a sonic standpoint, the listener has access to every instrument; the production doesn’t stray from guitarist Adam D.’s winning, accessible modern Metal formula – crystal clear and pristine without being glossy.

Where Incarnate shines brightest is vocalist Jesse Leach, who outperforms himself as a clean singer, as a screamer, and as a lyricist. Lyrically, Incarnate is a deeply moving affair, transitioning from an empowering, hopeful first half to a bleak, despair-ridden second half (Leach spoke about this here). What makes his lyrics resonate with such strength is that Leach is the everyman when it comes to depression and mental illness – Incarnate finds him seeking solace in his pen and paper in the same way his fans seek solace in him. The aura surrounding Leach’s words is that of a very public exorcism of demons, of a man determined to conquer his own internal struggles through occasionally brutal but thoughtful catharsis. And his intense soul baring allows listeners to have a similarly powerful experience. By the LP’s conclusion, one particular lyric embodies the Incarnate journey for both fans and for Leach: “Ghosts of the past no longer torment me/I release the anguish”.

Score: 4/5

 

 

February 2016 Album Round Up!

We’re just over two months into 2016, and we’ve already – somewhat surprisingly – been blessed with a ton of exciting releases in the midst of typically low-key winter months. When this calendar year is in the books, will we be looking back at January and February as the peak of 2016? Pretty unlikely. But I still feel like I’ve had a fairly reliable, steady stream of high-profile albums to look forward to (some delivered, some did not). And yes, Kanye dropped. But I’m fucking determined to go as long as I possibly can without hearing it. Not for lack of interest either. Just ‘cause. Anyway, here’s a quick recap of nine albums NOT named The Life of Pablo that I spent some time with this past month. Looking forward to what March has in store!

Khalifa – Wiz Khalifa

In the first project of his I’ve enjoyed since 2011’s smash hit Rolling Papers, Wiz dropped some…well, smoking and drinking music. The production and hooks are significantly more effective – to my ears, at least – than O.N.I.F.C. and Blacc Hollywood (save those two albums’ singles). If you’re looking for great lyricism, steer clear, but I definitely found myself coming back to this record quite a bit for some day drinking and pregaming, especially two exceptional, Kush & OJ-style tracks, “Zoney” and “Elevated”. RECOMMENDED

For All Kings – Anthrax

Welcome back Anthrax! About ten listens in, I’ve evaluated For All Kings as “dangerously close” to the Thrash mastery of 2011’s Worship Music. The difference is really just a filler track or two. But the middle chunk of this record is some of the best Anthrax music I’ve ever laid ears on. Joey Belladonna gets the MVP. My full review is available here. YouTube review here. HIGHLY RECOMMENDED

Day One – From Ashes to New

This studio debut from Lancaster, PA outfit From Ashes to New made me want to vomit. They’re like an even more cheesed-up version of Twenty One Pilots meets Crown the Empire. I appreciate what they’re trying to do, but it just made me cringe. This guy Matt Brandyberry sounds like an even more melodramatic Mike Shinoda when he utters (well, raps) the words: “I lay awake and look at the ceiling and wonder why/I’m so afraid to face all these feelings and want to die”. And that dubstep-y breakdown? Fuck outta here wit dat. Not to mention the clean vocalist sounds fucking IDENTICAL to the guy on Escape the Fate’s self-titled album. I mean, is Day One heavy and appropriately angsty? Passionate even? Sure. And it’ll dominate with the Hot Topic crowd. But holy fuck is it not for me. NOT RECOMMENDED

Sittin’ Heavy – Monster Truck

Simply put, this band’s sophomore effort is the best fucking throwback hard rock record I’ve heard since perhaps Kyng’s Burn the Serum. It’s all there: it’s energetic, passionate, and wholeheartedly convincing. Fans of ‘70s and early ‘80s Rock should check it out immediately! HIGHLY RECOMMENDED

This Unruly Mess I’ve Made – Macklemore & Ryan Lewis

This one certainly hurt. Macklemore is someone I really root for, if not always for his talent but for his passion, honesty, humility, and sometimes ruthless self-awareness. The Language of My World is phenomenal, The Heist is a near-classic, but Mess, his second with Ryan Lewis, is a huge disappointment. Save a few shining moments (“Light Tunnels”, “Kevin”, and the must-listen “Need of Know”) this thing is all over the place in a BAD way this time. My full review is available here. NOT RECOMMENDED

I Like it When You Sleep – The 1975

Ok, LP number two for these guys, who seem utterly ubiquitous at the moment. I am absolutely in love with the tracks “This Must Be My Dream” and “Somebody Else”. On the latter, those snare drums with the 80s-style reverb are borderline euphoric. While we’re on the topic of the 80s, the standout “She’s American” could’ve squeezed right into an early Huey Lewis and the News disc. But we didn’t need 17 frickin’ songs here. “UGH!” kind of drags in the wake of hit single “Love Me”, and are BOTH “If I Believe You” and “Please Be Naked” necessary when the title track brings all the dynamics this album needs? Still, at a bare minimum this is a wonderful soundtrack to a night drive in the city. Though I tend to think it offers a whole lot more. And yes, I do think Matt Healy eerily resembles Patrick Stump at times. But we’ll agree to disagree. RECOMMENDED

Victorious – Wolfmother

Ugh. This record has one of the strangest dichotomies in any track listing I’ve ever encountered. The first 5 songs are excellent and on par with some of the best moments on Wolfmother’s debut, and the second 5 songs are pure throwaway filler garbage. “Uneven” is an understatement. My full review is available here. NOT RECOMMENDED

X (No Absolutes) – Prong

Album number 11 for Prong – but their 10th of original material – wastes no time with opener “Ultimate Authority”, some excellent Crossover Thrash which would be right at home on a classic like Cleansing (although I know mentioning that record is understandably played out). I love the dissonant yet super-catchy riff in “Without Words” (and, for that matter, “Soul Sickness”) X (No Absolutes) has an impeccable combination of melody and heaviness that all these scream/sing Metalcore bands can only dream about. It stays completely true to the Prong aesthetic, and it’s a set that is sure to devastate in the live environment. I have yet to catch these legends live, so I’m hoping to get the chance on the cycle for X. RECOMMENDED

Dead Dawn – Entombed A.D.

Dead Dawn (Deicide anybody?) is the second album from Entombed 2.0 since the legendary band’s legal battles and break up. One of Entombed’s distinct qualities is how much more groove-oriented they are than the majority of Death Metal, showcased in the title track, and they’re not afraid to get downright melodic, like in that song’s bridge, which sounds like something Arch Enemy would do.There’s nothing in these ten tracks that’ll blow your mind, but there’s some certainly some heavy-ass (surprisingly fun) metal! I’m especially a fan of “Down to Mars to Ride” and the dynamic “Hubris Fall” And it’s still really not THAT far off from Left Hand Path, so there’s that. RECOMMENDED

 

 

Anthrax – For All Kings Review

Evil Twin Write-Up

The official edited version of this review is available here.

Four and a half years ago, after enduring a messy revolving door of singers for nearly a decade– featuring reunions, re-reunions, and one virtual unknown in Dan Nelson – Anthrax mustered up a modern Metal classic against all odds. 2011’s Worship Music, the band’s first with ‘80s-era frontman Joey Belladonna in over 20 years, marked not only a return to form for Anthrax, but arguably a career peak. An album that once threatened to become the Chinese Democracy for headbangers emerged as a definitive statement from one of Thrash Metal’s Big Four.

The genre’s notorious Mount Rushmore – rounded out by Metallica, Slayer, and Megadeth – historically joined forces on stage for the first time in Summer 2010, celebrating nearly 30 years of American heavy metal’s most essential movement, culminating with a show at Anthrax’s hometown Yankee Stadium the following year. In addition to capitalizing on an increasing nostalgia for the art form, all four groups have enjoyed reinvigoration in the studio as well, with Slayer and Megadeth both unleashing new albums to critical acclaim, and Metallica’s follow-up to the platinum-selling Death Magnetic due out later this year.

Anthrax once again enters the fold with For All Kings, their 11th full-length and a worthy successor to the monstrous Worship Music. One of the main ingredients that ultimately distinguishes the New Yorkers from their Bay Area peers is having a melodious, powerhouse singer in Joey Belladonna. As opposed to the gruffness of Metallica’s James Hetfield or the snarl of Megadeth’s Dave Mustaine, Belladonna’s vocals are akin to hearing Iron Maiden’s Bruce Dickinson backed by speedier, more muscular riffs. His pipes afford Anthrax the ability to be noticeably more tuneful in some instances, albeit still ferocious.

At fifty-five years of age, For All Kings finds Belladonna delivering his most commanding vocal performance to date, elevating these meaty chunks of speed metal to astonishingly anthemic heights. Even when the rest of the band seems to briefly lose a step, an impossibly huge chorus always seems to be lurking around the corner, showcased best in the otherwise run-of-the-mill “This Battle Chose Us” and the non-essential but excellent title track.

As a five-piece, the middle of the album is where Anthrax make a seriously convincing case for their place on the Metal pantheon. “Defend Avenge” gets the gold medal in the riff category with rhythm guitarist Scott Ian’s uptempo Black Sabbath worship. “Evil Twin” and “Breathing Lightning” both turned out to be excellent choices for singles, as they contain some of the record’s best moments. “Lightning’ is equipped with an almost radio-ready chorus and infectious riffing from Ian, and “Twin” is the Thrash Titans at their most pummeling, also making some poignant political statements about “ideology used as a weapon”. Belladonna once again asserts his crucial role on “Blood Eagle Wings”, a thunderously epic masterwork that, simply put, none of Anthrax’s peers could pull off.

For All Kings is also the band’s first LP with former Shadows Fall axe man Jon Donais, who replaced the talented Rob Caggiano in 2013. Donais proves himself more than a worthy addition and an exceptional fit, especially on the appropriately larger-than-life solo in “Blood Eagle Wings”, the squealing, harmonic-laden licks in “Monster at the End”, and an extended lead that gives album opener “You Gotta Believe” a sharp kick in the teeth just as it begins to coast. As for the Anthrax rhythm section, legendary blastbeat pioneer Charlie Benante continues to be unparalleled in his line of work, maintaining a breakneck pace alongside his nephew, bassist Frank Bello.

The lackluster moments don’t emerge until the final three tracks. “All of Them Thieves” is the sole glaring piece of filler. “This Battle Chose Us” simply underwhelms in the wake of the murderer’s row that occurred in the middle of the album. Chaotic closer “Zero Tolerance”, while certainly a battering assault, occasionally feels like aggression for aggression’s sake, but is a satisfyingly jolting conclusion nevertheless.

While For All Kings might not have quite the staggering greatness of its predecessor, it comes dangerously close. It’s an affair that should leave fans fully satiated, and it sits comfortably in the upper echelon of the band’s celebrated discography.

Score: 3.5/5

 

 

 

Anthrax’s “Evil Twin” Single

More than four years removed from one of metal’s most epic comebacks and a possible career peak in 2011’s Worship Music, a new Anthrax album is imminent. Man, it makes me tingle writing that. With what will be the band’s eleventh studio album slated for a 2016 release, classic thrash fans have a lot of celebrating on the horizon, with Megadeth’s Dystopia album also dropping in early 2016 – January to be precise (read my write-up of the “Fatal Illusion” single HERE). And this past Friday, fans got their first sampling of the as-of-now untitled release from Scott Ian and Co., a single entitled “Evil Twin”.

Immediately noticeable in “Evil Twin” is a new and improved rhythm guitar tone from Scott Ian – while Worship Music was a near-masterpiece, the rhythm tone did lack a certain thrash metal punch, reducing the power of pedal tone riffs on songs like “The Devil You Know” and “The Giant”. With an opening riff centered on pedal tones, “Evil Twin” serves as the perfect comparison, and the improvement is quite evident – the guitars sound heavier this time around. I realize some would considerate it disrespectful, ignorant – as well as a bunch of other useless adjectives I don’t give a shit about – for me to compare a veteran band to their metalcore offspring, but the main riff is very much an Anthrax’d version of Killswitch Engage’s “Rose of Sharyn”, at least before it bursts into punk-influenced rage.

Elsewhere, Joey Belladonna continues to contend for the G.O.A.T. spot among thrash metal vocalists (what’s up Bobby Blitz?), and delivers the thoughtfully-penned, topical lyrics in a way only he is capable of. I know this lyrical comparison is painfully obvious, but…”Holy Wars”, anyone? Newcomer Jonathan Donais (formerly of Shadows Fall) also delivers an appropriately shred-laced solo, although I am definitely going to miss Rob Caggiano.

My one gripe with this track is Charlie Benante’s choice not to sync the verse riff with double kick drums. Perhaps my neurological pathways are overrun with Fear Factory jams lately, but I can’t help but feel like locking in that guitar and bass groove with the kick drum would push the verses to an even heavier place.

It is no secret that Worship Music will be tough for Anthrax – and, quite frankly, any modern thrash band – to top, but “Evil Twin” effortlessly reaches the high bar set by that album and arguably lifts it higher. It is, simply put, a clinic in thrash metal circa 2015.

Megadeth’s “Fatal Illusion” Single

In the Megadeth world, the last year or so has been a PR whirlwind. There was the failed reunion of the Rust in Peace lineup, the sudden departure of guitarist Chris Broderick and drummer Shawn Drover, the exciting replacement drummer no one saw coming in Lamb of God’s Chris Adler, and a whole lot of sensationalized Blabbermouth headlines. In all fairness, it’s publicity like this that keeps a band relevant after releasing an album that was truly a skid mark on their legendary discography. Being the Megadeth diehard that I am, Super Collider remains the only album by the band that I cannot listen to (yep, Risk included – without Megadeth’s name on it, there’s some decent alternative rock hidden in there). The only thing that could’ve possibly ignited my interest in Super Collider’s follow-up was if the band recruited one of my favorite drummers and potentially my favorite guitar player of all-time…. wait a second, those would be Megadeth’s brand new members, the aforementioned Chris Adler and Angra’s Kiko Loureiro! Based on this alone, Megadeth’s instant jump in my mind from “washed up” to “I can’t wait for their new album” makes me feel like such a wishy washy hypocrite.

This past Thursday, Megadeth’s fifteenth album became public knowledge, with the title, release date, track list, and some truly awesome cover art all revealed, along with the premiere of first single “Fatal Illusion”. The album will be called Dystopia, and won’t be out until January 22nd of next year. I’m not sure whether to be charmed by Universal’s traditional album roll out or concerned by such a resistance to industry change. Either way, we now have the first Megadeth song since June 2013, and I couldn’t have been more curious to hear it.

“Fatal Illusion” is – at a minimum– the best Megadeth song since 2009’s Endgame. After a well-executed intro that allows the song to gradually build, we’re greeted by one of the meatiest bass tones I have ever heard, as David Ellefson introduces the main riff “Peace Sells” style. After that, it’s everything that makes Megadeth great, and everything Super Collider was missing. The song’s powerful main riff is amplified by Chris Adler’s hard-hitting double bass, which segues into a catchy verse groove straight out of the Rust in Peace playbook. Kiko Loureiro and Dave Mustaine sprinkle some indulgent lead playing throughout, adding some spice to the song’s structure. By the time the band erupts into the breakneck bridge section, “Fatal Illusion” has already sold itself. Megadeth are not fucking around this time.

Sonically, “Fatal Illusion” is along the lines of United Abominations and Endgame – the production strikes a successful balance between polish and edge. In addition to Ellefson’s stunning bass tone, the guitars and drums sound like Megadeth again, as opposed to the muddiness of Super Collider and its predecessor, Th1rt3en. Perhaps the biggest critical headache on Super Collider was Dave Mustaine’s lazy, painfully corny lyrical content, but “Fatal Illusion” makes significant strides in this department, despite the backseat role lyrics often assume in Megadeth. If you ask me, “It’s a fatal illusion that evil never dies” is pretty fucking badass.

With “Fatal Illusion”, Megadeth have made quite the statement. Super Collider is already disappearing from the rear view mirror, and the band’s new lineup gives the metal community – young and old – something to be truly excited about. I’m eagerly anticipating Dystopia’s January 22nd release. Well, either that or its inevitable leak.