Album Review: Megadeth - Super Collider

Whatever goodwill Dave Mustaine garnered in recent years – Big Four shows, blistering Endgame, re-enlisting beloved bassist Dave Ellefson – has largely dissipated. Much of that can be attributed to the Megadeth frontman's political gaffes, and perhaps partially to patchy predecessor, Thirteen, seemingly rushed to fulfil contractual obligations.

Album number 14 rarely goes for the jugular. Instead, it often moves at a pedestrian, even tepid hard rock pace. Opening songs (Kingmaker, title track) don't exactly set the world afire. The pseudo-thrashy former is passable, but could have been lifted from middling United Abominations. The concise, mid-tempo yet flat and borderline embarrassing title track channels radio-baiting career low-point, Risk. The frontman's voice has understandably waned since passing 50, but even bile-spitting Peace Sells…-era MegaDave couldn't rescue lyrics like “Burn baby burn, because it feels so good,” or otherwise enjoyable speed-metaller Built For War's cheesiness. It's as cringeworthy as witnessing your drunken uncle dancing at a family reunion. Grizzled metal-heads will snort in derision at Disturbed main-man David Draiman's guest appearances, which prove rather forgettable at best. While largely unremarkable, there are positives about Super Collider, tacky artwork aside. Countrified/Southern rock-infused The Blackest Crow's slide guitar and strings are oddly effective; Judas Priest-fuelled Don't Turn Your Back is a winner, highlighted by axeman Chris Broderick's stunning solo. Covering Thin Lizzy's Cold Sweat unexpectedly closes proceedings, its rousing feel offering something much of the record doesn't – a sense of fun.

A respectable but safe enough exercise, this may result in the long-overdue ceasing of “best album since Rust In Peace” cries that have accompanied almost every new Megadeth album over the past two decades.