Artist: Megadeth
Label: Sanctuary Records
Release Date: 9/14/04
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Title: The System Has Failed Artist: Megadeth Label: Sanctuary Records Release Date: 9/14/04 |
Judgment Committee Reviews | Rating |
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4 | ||
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5 | ||
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4 | ||
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Abyss's Review:
Let's face it, this album had pretty much everything going against it from the get go. It followed two extremely poor albums in Risk and The World Needs A Hero, Dave screwed up his arm in rehab to the point where it was speculated he might not play again, and his long time collaboration with bassist Dave Ellefson deteriorated into dueling lawsuits. To put it bluntly, I was under the impression it would take nothing short of a miracle for this record to be anything short of a tragedy.Well, Hallelujah! 'Deth has risen! The system may have failed, but Mustaine hasn't. Instead, he's released a well-composed, consistent record that should be hailed for what it is, rather than criticized for what it isn't. And what it isn't is old Megadeth, so get that out of your head right now. This isn't a return to form . . . a Rust In Peace II if you will. But it is a really great record. In fact, it utilizes many of the (very) few positives found on the last two records and incorporates them into a focused effort. For the sake of comparison, this album is probably most similar in feel to Youthanasia, but is much more consistent with regard to craftsmanship and songwriting. So if you're one of those who hated that album, my excitement with this record will most likely be lost on you.
"One word review: Awesome." But those of us who are tolerant of the more contemporary Megadeth sound are in for a treat. I was initially reluctant towards this record, but as I listened to it more and more, I found myself constantly humming its infectious melodies and looking forward to the next time I'd have a chance to listen to it. With the exception of maybe two songs on the album, I like pretty much every song, although some more than others. Tracks like "Of Mice And Men," "The Scorpion," and "Back in the Day" may not be the flesh-shredding thrash of my youth, but they seduce me with a combination of solid riffs, interesting structures, and compelling choruses. I initially found some of them too 'sing-songy,' but my resolve was worn down on each subsequent listen. I found my internal rating system giving it an initial two skulls, then three, and finally four because I was spending so much time with the record, giving it a three seemed disingenuous.
But there are some flaws with the record. In many instances I'm disappointed with some of the mix. The guitars sound thin in places, mixed down like a rock record, rather than a metal one. Hell, Dave's a guitarist - he's supposed to be paying a producer to keep yelling at him to turn the guitars down! The lyrics can be cheesy too ("The Scorpion" is a prime example), and Dave's voice lacks a lot of the venom from his earlier performances. But for the most part, the entire album works. The riffs have an edge to them, and Dave does a good job of getting his politics across.
I'm not sure if this album has been helped by near-zero expectations, but it has been one of my most enjoyable musical experiences this year. If there is any Megadeth fan left in you, you're gonna be in for a thrilling surprise. One word review: Awesome.
Death's Review:
Right out of the box, you know this album is different. A classic, cartoony/political Vic Rattlehead cover, backed up by a Rust in Peace-style opening thrashfest, “Blackmail the Universe,” with cool political lyrics spit out with requisite Mustaine-style bile. Lots of solos too, including some from classic-era Megadeth guitarist Chris Poland (who coincidentally actually played on both of this week’s Judgment Committee albums – this one and the new album from the mighty Lamb of God). So everything is right with the world right out of the box. And even though the radio song, “Die Dead Enough,” comes next (why did they make this one the first video?) – I like it, but only after many listens did its catchiness force me to succumb, until then you’ll find it only average at best – the momentum built up by the pretty cool opener isn’t lost. You’re thinking – there’s promise here for the remaining ten tracks. Dave clearly understands what his fans want to hear in terms of Rust in Peace style riffing, double-bass parts on the drums, multiple changes and lots of minor-key guitar solos, even though he is still interested in writing catchy songs as well. Those two songs back to back are good enough to inspire you to listen further.It is then, however that things get truly interesting. If you’re like me, you heard “Kick the Chair” when Mustaine posted it on the Megadeth.com web site a couple of months back. Yes, it is the most Rust in Peace style song on the album, and it kicks ass. Back when I first heard it I thought, “Yeah, it’s cool, but it sounds like he is trying to recapture past glory, and feels slightly calculated in that regard.” I take all of that back. This song rules. It kicks ass and reminds me of “Take No Prisoners” and the cooler, more aggressive Rust in Peace moments. I’m into it. “Return to Hangar” from the last album is calculated – “Kick the Chair” is the real deal.
"I can’t stop listening to this album." But I also always liked the emotion and the introspection Megadeth showed on Youthansia, a generally misunderstood but, for me, captivating record. And things start to take an interesting turn toward recapturing some of the best aspects of that album’s vibe with “Scorpion,” a great fucking tune that gets in your head, is catchy as hell and yet is totally metal. If you like Mustaine’s voice, you’ll get into this tune. The lyrical melodies and the chorus riff fit so perfectly together, you should really appreciate the songwriting prowess that is on display here. It sounds to me as if Mustaine had the time, the space and the luxury of having no expectations which gave him the distance and the focus to create great pieces of music. The songs sound confident, mature, metal and honest. What a perfect combination. I can’t wait to see this stuff in concert and shout along at the top of my lungs.
“Tears in a Vial” that follows is also cool, so is “I know Jack.” But I love “Back in the Day,” which on one level is a cheesy “shout out” to the glory days of metal, yet still rings with honesty coming from a true legend like Mustaine (complete with shout-out to Old Bridge, New Jersey). But what I really love most about the tune is the killer and very old-school style riff that ends the song – the real shout out to the old school if you ask me (I assume that was intentional!). “Something That I’m Not” makes me wonder if Dave is talking about David Ellefson or Lars Ulrich or someone else (“You didn’t make metal buddy – metal made you”). “Truth Be Told” is a total highlight and early fan favorite, and personally I love the introspective wisdom of years showcased on “Of Mice and Men”: “And now as Gabriel sounds my warning bell, I’d buy your life if you would sell, a year or two if less compelled. So live your life and live it well. There’s not much left of me to tell. I just got back up each time I fell.” Killer.
The other songs, “Shadow of Deth” and “My Kingdom” are killer too. I can’t stop listening to this album. Sure, it isn’t the most underground or the rawest thing out there – there is still some commerciality to the songs – they aren’t all-out riff-o-rama fests like some people would want. I actually like this album a lot better because of that fact – it’s got aggression, it’s totally metal, it’s got old-school glory, but unlike much of The World Needs a Hero and Risk, it’s got soul, honesty and great songs. Bottom line is that – surprisingly – this is one of the best albums of 2004.
Hel's Review:
A lot has happened in the Megadeth camp since the release of The World Needs a Hero. For a while there, it seemed that album would be the last from the band, and it was a shame to think they'd go out like that. Fortunately, Dave isn't one to give up easily, and after all has been said and done, here we are with a brand-new Megadeth record.
"After all is said and done, Megadeth's latest effort is by far the best they've come out with in many years." Amazingly, nearly every issue I had with the last record has been addressed. It's almost as if Dave read my review and took it to heart. The only remaining item of discontent for me is one that he would never do away with - the various and sundry sound clips he is so fond of. But the topical content is once again predominantly centered on political dissatisfaction and social angst, and there isn't a ballad to be found. Best of all, Dave seems truly pissed once again. Republicans in the White House are always good metal inspiration. But let me leave the commentary to Dave.
The songs are once again heavy, but only a few are akin to the Peace Sells . . . -era. Most hearken back to the slightly more recent Youthanasia-era. This may affect your appreciation of the album, if you are of the strict school of old Megadeth. But if you are among those who were a little more flexible and accepted the mid-90s work of the 'deth as well, you may find a great deal to like about this record. Even the strictest old-schoolers will be able to nod their heads to a couple of tracks.
After all is said and done, Megadeth's latest effort is by far the best they've come out with in many years. I harbor hope that their live set will kick serious ass, even with the massive line-up changes, and I look forward to having the opportunity to test this theory. Until then, I'll continue to have fun spinning The System Has Failed.
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