And really, this doesn't come through as blisteringly as it's advertised. Seeing a pattern here? Pretty much every issue with newer Megadeth is the same, it's just that some albums show it more than others, and this one really doesn't as bad as some seem to think.īreaking this down, we've got a few issues regarding try-hardism, edginess, and some bland numbers here and there. One more noticeable thing is the fact that the songs near the end tend to get a little bit boring and unmemorable. "Dance In The Rain" is definitely guilty of this too, but again, it somewhat makes up for itself by having solid chord progression, an amazing bridge, and the buildup that leads to a rather devastating outro. But really, hasn't Megadeth somewhat been guilty of this since 1999? It's a flaw, but it isn't horrendous. ![]() What it's guilty of is annoying vocal delivery, as well as poorly written lyrics. Let's revisit "Built For War", the one that I praised for having an absolutely banger riff. There are definitely some things that can't be overlooked, and I think the most popular accusation is the fact that some of the lyrics make you want to quiver. Admittedly, most of these qualities don't jump out at you, and it may take a few rotations to pick up on, but that's the art of music that grows on you. Lastly, incorporating major keys despite the darker themes make this an interesting spin to say the least. Stellar grooves with hopping time signatures make an appearance on this disc as well, with the main riff of "Built For War" having that beating punch to it while not getting stagnant. Man! I can't get over how killer of an album opener that is! On the flip side, the title track goes back to the styles on Cryptic Writings with the vocal harmony, slowed down tempo, and the flush progression in the chorus. No, the riffs themselves dwell on the energy and attitude that drove a lot of the speed metal tracks on So Far, So Good, So What, and the aforementioned "Kingmaker" takes the cake on this. One thing that nobody seems to mention is the fact that there seems to be some throwback-ness in Super Collider, and it's not only because of the production I mentioned. ![]() Plus, this one is noticeably less "over-caked" with glistening production work than previous Megadeth albums contained in the more recent years, giving it a more stripped down appeal. Consistency may be lacking in the realm of keeping the song structures the same, but it's all there in regards to tighter platforms, less slop, and bouncy rhythms. This should be evident right away, as the guitars have a much meaner angst to them, and the opening track "Kingmaker" could not be more of a candidate to represent this. One thing's for sure, it's a decent leap forward from the snooze-fest that preceded this one. I'll admit, Super Collider is definitely guilty of a few sins, but I'm actually a little bit shocked at the backlash this one gets, and the same goes for back when this came out.
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