A Music Review - "Th1rt3en" by Megadeth

Note: I originally wrote this for my college journalism class. I had to write a music review and chose this because I had just gotten it. If I had written it as a blog, the language would be much more laid back and I probably would have gone into more details on the songs due to having more freedom and space. Still, I wrote it, so I thought I would let you guys check it out.



 On November 1, thrash metal band Megadeth released their most recent studio album, aptly titled Thirteen.

The band is the third of the “Big Four of Thrash Metal” to release an album this year, joining Anthrax with their album Worship Music, and Metallica with the recent Lou Reed collaboration, Lulu. With almost three decades of history, Megadeth has dubbed their most most recent effort “Thirteen,” named for its chronological number in the band’s catalogue.

Much of the underlying mood of Megadeth’s previous release, 2009's Endgame, is still present here. A gritty, driving ambience permeates most of the tracks. Unlike its predecessor, however, Thirteen strays from the more rhythmically-driven anger stampede in favor of a sculpted sound with a larger emphasis on hooks. The result feels reminiscent of the band’s mid- to late-nineties style, although a little bit of Megadeth’s more recent sound is still noticeable.

On a track-by-track basis, every song on the album has at least something to offer. Riffs, solos, a striking vocal performance, or even just a feeling, a listener could select any track at random and rock out. However, even though there are really no tracks that are outright bad, it does not necessarily mean every song is particularly memorable, either. Many of the elements that make each song on its own are not memorable enough to set a song apart.

In Megadeth’s work throughout their career, it is often impossible for anyone with an interest in the genre to put on an album for background music. Their best works demand attention, with solos that bite and riffs that practically take shape and jump from the speakers to dance in the listener’s face. After multiple listens, Thirteen still does not seem to stand out in this way. To reiterate, each song is fine on its own, but play the whole album from start to finish, and things tend to mesh together from time to time. There are blocks of songs that simply do little to get the eardrums sizzling, with even some of the better songs being dragged down by the blander songs that book-end them.

That is not to say that the whole album is like this. There are certainly some stand-out gems. Where the album is good, it’s extremely good, with several songs reminding us of just why Megadeth is so successful. If any more “best of” compilations rest in the band’s future, then Thirteen has more than enough great material to contribute.

Thrash metal as a genre is built around the guitar, with pulse-pounding riffs and blazing solos making up the core of any true thrash album. Being a progenitor of the style, frontman Dave Mustaine is no stranger and it shows. Thirteen  has all that you would expect from a Megadeth album. Each song contains its share of guitar hooks that will keep listeners entertained if they are paying close attention, though not all of them will pop out or get the audience addicted.

The solos come in the exact same flavor as Endgame. Guitar players Dave Mustaine and Chris Broderick know what they are doing, perhaps a little too well. There is plenty of shredding, with very little being boring, but there are few surprises, either. Thirteen has no compositional masterpieces, although anyone who likes Megadeth’s style won’t be disappointed. The lead section of this album are more complementary than attention-grabbing. Metal fans will be able to bang their heads to most of them, even if they can not recall them note-for-note once the chorus kicks back in.

Vocally, Mustaine’s signature snarl is back in all its glory. The vocals have a little more of a growl this time around, making them sound angrier, which helps most of the songs. The delivery in the second track, Public Enemy No. 1, is outright vicious. The lyrics are pretty standard Megadeth fare, touching on themes of violence, regret, crime, and especially politics. There’s also another song about drag racing (Fast Lane). For the most part, the lyrics and their delivery fit nicely together.

One notable exception is Whose Life is it Anyway, a rebellious anthem phrased in a way that brings to mind images of a disgruntled teenager throwing a tantrum because his parents wouldn’t let him stay out past ten thirty. This may not have been the intention, although it is the result. The lyrics might have sounded silly coming from Mustaine in his early career, but at fifty years old, it sounds jarringly juvenile. It is shame because the instrumentation for the song is among the most heart-pounding on the album, and the lyrics are a major distraction.

Ultimately, for anyone with an interest in the album, there is enough good material to warrant a purchase. More casual Deth fans can pass it up without losing too much sleep, although they would be doing themselves a disservice if they didn’t at least listen to some of the more stand out tracks. It’s also worth noting that anyone who still owns one of those primitive CD thingamajigs should consider buying a physical copy as opposed to a digital, as the album art is very well-done and makes a cool bonus.

For those who are more into putting one song at a time on their iPods, Sudden Death, Public Enemy No. 1, Black Swan, and Deadly Nightshade are essentials. Never Dead and Wrecker are pretty good choices as well, and more devoted fans can look into Fast Lane and Whose Life is it Anyway. The rest of the album is certainly not bad, but potential listeners may want to try-before-they-buy the remaining five tracks.