Supercollider album1/12/2024 ![]() There are a few excellent songs on ‘Super Collider,’ some that are decent, and a couple that can kindly be characterized as filler. Knowing that going in may help shift your expectations. ![]() This is mainly a hard rock album with some metal moments. If you pick up 'Super Collider’ expecting classic thrashy Megadeth, you’ll be disappointed. David Draiman from Device and Disturbed lends vocals to 'Dance in the Rain,’ which is just okay, and the far superior 'Forget To Remember.’ The proceedings wrap up with a cover of Thin Lizzy’s ‘Cold Sweat,’ one of the best tracks on the record. There is a guest appearance on the album. Megadeth probably doesn’t want a whole album with fiddle on it, but it works well on this song. The most unexpected moment on the album is ‘The Blackest Crow.’ The twangy intro sounds like it is from a bluegrass album before the hard rock kicks in. Flashback to 2011 when Megadeth put out the album 'Th1rt3en', and especially 2009 when the thrash masterpiece 'Endgame' came out. Upon my first listen, I was immediately appalled. Shawn Drover is an underrated drummer, and holds down the rhythmic fort with style. Megadeth released a brand new song, entitled 'Super Collider' which would be the title-track from their upcoming album. Dave Ellefson is a rock-solid bass player who provides good backing vocals, as well. The current lineup of Megadeth is one of their best. There are some top-notch riffs on the track ‘Burn’ and throughout the album. Mustaine and Chris Broderick are two of the best in the business. You know you’re going to get great guitar work from Megadeth. That’s neutralized by the run-of-the-mill title track that follows, a hard rock song that’s pretty nondescript. Purchase Super Collider #Album review Bearded Gentlemen Bearded Gentlemen Music Commercial Metal Dave Mustaine Endgame Kingmaker Megadeth metal roots Nick Green Nicks Album Reviews Super Colider is a disappointing album Super Collider True Megadeth Fan album starts on a high note with ‘Kingmaker,’ the type of high-energy track you’d expect from Megadeth. I actually cringed during songs like “The Blackest Crow” and “Forget to Remember”, which got me thinking what am I actually listening to? Half the album is full of solid metal I would expect from Megadeth, but then the other half sounds like radio-friendly metal. The 1991 debut has recently been remastered and rereleased by the duo, the first in a planned series of reissues and. Overall, where does this leave me as a Megadeth fan? Somewhere in the middle of the road actually, as on one hand I really like the album’s overall sound, but then on another I’m still not convinced by some of the material on here. Emigre’s Rudy VanderLans took to Supercollider’s music, releasing both their self-titled debut in 1991 and a follow-up, Dual, in 1993, as well as working closely with the band to create striking cover art for those efforts. But, after several listens I felt deflated, as if I built myself up and up and up and then made myself fall to the floor in spite. ![]() I’m not saying this is a bad album, or am I? On the first few listens nothing really stuck out to me, I sat there expecting some big guitar riff or hook, some massive drum rhythm to blow me away. ![]() Conversely, Super Collider does have its good moments, just not merely enough to make it a memorable album. As much as I was enjoying the album it still felt a little bit too commercial and not daring enough like Endgame was, or even as 13 was in places. However, given that I’ve already stated that I am a through-and-through Megadeth fan I must say that at times I had to put down my headphones or press pause for a moment to be able to absorb what I was hearing. I still think even on Endgame his vocals were a little dodgy. There is a real chunkiness to this album especially in the guitar area, whilst everything else remains solid as always, I think this is Dave Mustaine’s best vocal performance of the past three albums. Mentioning that is significant as I think it has allowed Megadeth to flex their more well-known metal roots, instead of trying to fit into Roadrunner’s commercial money-making music. I would say that this album returns to a more traditional thrash sound, albeit forgiving the normal fast beats typically associated with most thrash metal. I think 13 was always going to be under-the-cosh album seeing as it would be the end of their contract with Roadrunner, and now under their own label Tradecraft with distribution handled by Universal.
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