Metalcatto
There’s a level of tragedy to this review. Despite how much we all love to pick on Megadeth, and especially on Dave Mustaine for all his public antics and tumultuous history, he’s our weird, cantankerous uncle in the metal family. Seeing the band seemingly ready to leave the gloves on the ring is a genuinely sad moment. I’m a realist; there is absolutely no way Megadeth is ever going to top the holy trinity of Rust in Peace, Countdown to Extinction, or even Peace Sells… But Who’s Buying? But here we are, collectively not quite ready to let the old guys ride peacefully into the sunset with their millions. So, let’s not pull any punches in discussing one of the most iconic acts in our little, utterly insignificant metal world.
Their latest album is… alright. Megadeth isn’t going to blow your mind with radical innovation. If anything, the record firmly sticks to the sonic blueprint established in the 2000s era of The System Has Failed or United Abominations (so if you hate that specific, polished-yet-aggressive production style, you’re out of luck). It offers compact tracks that focus on delivering lots of attitude, thick, chugging riffs, and—most of all—an abundance of guitar solos that were clearly not played by Dave. Let’s be honest: Megadeth isn’t truly Megadeth if the lead guitarist isn’t some virtuosic beast who can unleash a torrent of notes in the most brutally technical solo you’ll never be able to nail properly, and I mean never. So, expect to visit a lot of familiar, comfortably thrashy places here.
In some ways, it does feel like Megadeth is taking a short, nostalgic tour through its own long and illustrious catalogue. However, Dave’s youthful disdain and simmering fury are still palpably present. The old men might have physically slowed down, but their profound discontent with the world—whether for right or wrong reasons—remains fully intact. For someone who grew up with this music, there’s something oddly comforting and even wholesome about hearing these edgy, almost corny attacks now aimed at the one true tyrant in all our lives, the force that makes everything ultimately suck: Father Time.
Now, my own ridiculous level of nostalgia and sentimentality can’t make me ignore the fact that this album is, fundamentally, more of the same music the band has been delivering for most of my adult life. However, if there’s one thing that rubbed me the wrong way, it’s the lyrics. I know, that’s a lame criticism to level at Megadeth, of all bands, but good lord! The “edge” on these lyrics cuts so hard it sometimes borders on self-parody. It can be genuinely difficult to take their particular brand of moodiness seriously in the current year. If anything, my strongest recommendation would be to not take this album too seriously at all. Instead, just have fun and enjoy the epic solos, the solid riffs, and that trademark lyrical cheesiness Dave has brought us since forever.
By the way, it has to be in some sort of tragicomic, poetic vibe that the final song on this final Megadeth album appears to be titled Ride the Lightning. The man never fully moved on from that defining moment in 1984, and perhaps, in our hearts, neither have we. Thanks for all the great gigs, classic albums, endless memes, and the countless hilarious and tragic moments along the way. This wasn’t our first Megadeth review, but now, reaching this potential end with a profound mix of feelings, I can only wish these guys good luck and, when the time truly comes, that Megadeth may finally rest in peace.
Label: BLKIIBLK – Frontiers
Release date: January 23, 2026
Website: https://www.megadeth.com/
Country: USA
Score: 3.0/5.0
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