Megadeth - "Megadeth", 2026

I have a soft spot for Megadeth. Among the so-called classic bands, it's one of the few I can still listen to occasionally without getting tired of it; I certainly cannot say the same for many other bands I grew up with. I appreciate all of the band's records to varying degrees, and even Megadeth's 2000s run was surprisingly solid compared to its peers. Despite a few questionable albums throughout the band's career, Mustaine consistently maintained a high standard over the years, especially considering the number of records he released. The band's recent thrash metal renaissance was certainly impressive, with "Dystopia" and "The Sick, the Dying... and the Dead!" featuring some of the best material released in quite some time, despite a few filler tracks and a production that sounded too modern for my taste. Therefore, it was sad and quite unexpected when Mustaine recently announced that he would put the band to rest within a few years of the release of its last record, the aptly self-titled effort that just came out. At the same time, I believe it's better to lower the curtain before old age makes things awkward, as happens with many bands; hopefully, Megadeth will not pull a Slayer and come back to play shows five years after its supposedly last show.

That said, is "Megadeth" a farewell record that does justice to the band's legacy? Yes and no. Aside from the rather elegant cover artwork, the first noticeable aspect is the production: the drums sound a little less clicky and processed than on the previous two albums, while still heavily compressed and impactful. The snare, in particular, is probably even too loud in the mix, but this trend is typical of modern productions, so it's not surprising. Overall, the album is likely the best sounding of the last three, also allowing a bit more space for the bass, which was somewhat buried in the mix on the previous one. I still think David Ellefson was an integral part of Megadeth's sound, and his absence is certainly felt on "Megadeth," just as it was on "The Sick, the Dying... and the Dead!," despite LoMenzo being an absolutely worthy musician in his own right.

Stylistically, the album only partially follows the thrash metal revival of its two predecessors. To be fair, even those two were not a complete return to the band's roots, featuring several melodic and mid-tempo songs throughout their tracklists. On "Megadeth," the faster songs are in the minority, with two of them—the opener "Tipping Point" and "Let There Be Shred"—strategically released as singles prior to the album's release to whet the fanbase's appetite. While the first is a thrash metal missile in the vein of similar songs from "The Sick, the Dying... and the Dead!", the latter leans more toward old-school 80s speed metal, featuring tongue-in-cheek lyrics that are probably not meant to be taken seriously. It sounds like Mustaine is having a lot of fun, with lines that recall tracks like "Rattlehead" and AC/DC's "Let There Be Rock," the latter clearly referenced in the song's title. It's all quite corny, but the track will work well during live shows.

"Made to Kill" feels like a blend of these two tracks, alternating solid mid-tempo riffs with sudden bursts of speed, but it's also the last song on the record to play the nostalgic 80s thrash/speed metal card. In fact, the rest of the album is more reminiscent of the melodic 90s material Mustaine wrote from "Countdown to Extinction" through "Cryptic Writings," although even in the 2000s there were several examples of these mid-tempo, more accessible songs scattered throughout the records. This direction will probably disappoint those who expected a furious final album from the band or those who enjoyed "Dystopia" and "The Sick, the Dying... and the Dead!" for their heavier, more aggressive songs and elaborate compositions. I don't mind much, since "Youthanasia" and "Cryptic Writings" are among my favorites by the band, except that the material here is not as strong as Megadeth's mid-90s phase.

This isn't to say that it sucks; it's actually quite palatable. It's just a bit too predictable and over-reliant on mid-tempos and the typical Mustaine snarling, spoken parts à la "Angry Again." We all know what Dave went through with throat cancer, and it's a miracle that he can still sing at all, but his limitations are more apparent than ever at this point in his career. The struggling singer basically talks through many sections of the songs, and while it has been a signature trait of his style since the beginning, the technique now seems to be used too often and primarily to mask his inability to sing properly, or perhaps to make things easier when performing the songs live. The punk-influenced "I Don't Care"—a song that actually sounds like something Mustaine could have written for his 90s side project MD45—is a prime example of this vocal approach, but it's also used extensively on "Puppet Parade"—a track that sounds like a mix between "Angry Again" and "Trust"—and the similar "Obey the Call," although the latter features an unexpected, welcome speed-up in its final section.

The remaining four songs all feature riffs and melodies that recall either "Youthanasia" ("I Am War," "The Last Note") or "Cryptic Writings" ("Hey, God?!," "Another Bad Day"), retaining either the dramatic, vaguely epic flair typical of many Megadeth songs from that era or the more classic rock approach found on those records. "Hey, God?!" is probably the best of the bunch and is also one of the songs where the limitations of Mustaine's current vocals have been worked around more successfully. Overall, much of the material—especially the more melodic tracks—would have benefited from being released when Mustaine could still sing well and the band didn't have to downtune. Of course, it's not his fault; it is what it is, but it's still unfortunate to imagine how these songs would have sounded with his 1990s vocals, arguably his peak period.

However, Mustaine still impresses with his guitar work, and together with the new entry, Teemu Mäntysaari, he really goes to town with the solos on this record. Both guitarists are in excellent form, delivering outstanding—and extensive—lead guitar work. This is probably the album with the most soloing since "Endgame," and while I usually find excessive shredding a bit tedious, the licks and execution on "Megadeth" are so impressive and smooth that I genuinely enjoyed them. In some cases, the solos even elevate songs that might otherwise struggle.

This review would not be complete without mentioning the much-discussed bonus cover of Metallica's "Ride the Lightning," placed at the end of the tracklist. While I will not elaborate on the reasons that led Mustaine to pursue this bizarre idea, aside from his role as a co-writer of the original song, the Megadeth rendition is extremely faithful to Metallica's version, if slightly faster. There are some important points to note, though. For starters, it probably would have sounded better if Dave had recorded it many years ago, when his signature voice was still intact, since the original Hetfield vocals were quite demanding. Regardless of his vocal issues, a 60-year-old covering a song originally recorded by musicians in their 20s cannot convey that same youthful energy. In fact, Dave could not even do justice to his own cover of "These Boots" when he re-recorded the vocals for the 2018 "Killing Is My Business" reissue, so it's not a surprising outcome. Secondly, the very dry production does not help. Part of the character of the "Ride the Lightning" album came from its 1980s production, which sounded spacious, full of reverb, and icy-cold; if you remove that, it's still a great record, but it loses much of its magic, highlighting how essential Flemming Rasmussen's work was.

I'm not sure if "Megadeth" is the farewell record that fans were anticipating, and it's likely to disappoint those who expected a full-on thrash metal album. On the other hand, it may not be experimental or melodic enough for those seeking something out of the ordinary, as it mostly relies on established Megadeth tropes and often borders on being self-referential, with many melodies and guitar refrains echoing the band's past hits. I still find it a reasonably respectable—though unessential—effort from a metal legend who certainly has nothing left to prove; it's a straightforward and unpretentious record that grows with each listen. While it's not as ferocious or elaborate as the previous two, it has a catchiness that recalls an era of the band I remember fondly, so it struck a chord with me. 

If it truly is the final round, thank you for everything, Mr. Mustaine; it has been an incredible journey, and I'm glad I was able to follow most of your career as it happened.

LISTEN: Spotify