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1000 results for “Punky_John”
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Been on this site for a few days and thought that I would introduce myself. I'm a #socialist and #antirascist, #antihomophobia, #antitransphobia, etc...
Obsessed by #Music and I mainly listen to #Punk but I am very open minded. I use last.fm to track my music (https://www.last.fm/user/Punky_John).
Also obsessed by #DragRace.
I am a #Football fan and support #LutonTownFC and #England.
Here to expand my knowledge and interact in friendly discussions.
I tend to respond to posts than be a prolific poster.
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Been on this site for a few days and thought that I would introduce myself. I'm a #socialist and #antirascist, #antihomophobia, #antitransphobia, etc...
Obsessed by #Music and I mainly listen to #Punk but I am very open minded. I use last.fm to track my music (https://www.last.fm/user/Punky_John).
Also obsessed by #DragRace.
I am a #Football fan and support #LutonTownFC and #England.
Here to expand my knowledge and interact in friendly discussions.
I tend to respond to posts than be a prolific poster.
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@MoonlightBard this will be the first tournament since Mexico that I won’t be watching #FuckHate #FuckGreed #FuckFIFA2022
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@MoonlightBard this will be the first tournament since Mexico that I won’t be watching #FuckHate #FuckGreed #FuckFIFA2022
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Drugs of Faith – Asymmetrical Review
By El Cuervo
Though the group may have swerved any attention at AngryMetalGuy.com, and swerved a full-length album for more than 13 years, Virginia’s Drugs of Faith have no shortage of grindcore pedigree. Besides a smorgasbord of demos, EPs, splits, and singles, Richard Johnson of Agoraphobic Nosebleed notoriety graces the band with guitar and vocals. Asymmetrical is their latest release and promises an uneven spread of musical directions and lyrical themes on a base built on punky, noisy grind. Does it deliver?
It certainly delivers on noise. The word “chaos” (or its derivatives) appeared no fewer than seven times in my notes describing these ten tracks. Intensity and off-kilter energy are splattered all over Asymmetrical, but there are particular moments that stand out. I particularly enjoy the lead over the first half of “Drones”; it blends a chromatic melody with trilling flourishes, expressed through tumultuous, tremolo-picked guitars. Likewise, the discordance over the first half of “Divestment” builds an unsettling wall of noise. Layered on top are vocals that lever the sneering edge of punk and the super-charged energy of hardcore. It coalesces into just 21 minutes of speedy, energetic grindcore designed to spark you out of your everyday tedium. Its lo-fi, roughshod style strikes quickly and strikes hard.
Distinguishing the Drugs of Faith sound slightly are the drums and bass that sit further forward in the mix than the guitars which sit relatively far back. The purring bass is a standout, commanding the songs’ progression with a pleasingly-grounded rumble. Despite this advantage, and the reasonably-unique production caused by the mix, setting the guitars back means the riffs – that typically switch between stomping grooves and sawing swings – don’t have as much clout as they should. This dilutes one of the key components of Asymmetrical’s memorability. The grinding guitars in the middle of the mix contribute to the general cacophony and chaos but ultimately make the music more forgettable. By way of comparison, the opening lead on “Gas Mask” is surprisingly crunchy and differentiates itself because the bass guitar isn’t there to cover everything in its distortion. I enjoy the album’s overall aesthetic but the moments where the guitars are exposed allow them to have more impact.
Because of the mix that blunts its songs’ riffs, Asymmetrical begins to blur across its side A. Side B attempts to refresh the album’s sound, but isn’t able to quite do enough. I’ve already described the crunchy opening on “Gas Mask”, but the frenzied guitar solo on “The Void” does its part too. Again, prioritizing the guitar does some good for the song’s memorability and contributes to the insanity. Similarly, “The Next 100 Years” uses a cleaner guitar transition between passages, and there are call-and-response shouts on “Essential.” Each of these is just a small part of their respective tracks but they offer new textures on an album that doesn’t care too much for musical variety. While a band like Beaten to Death offers utterly atypical grindcore, one of the things I love about them is how their core sound expands with fragments of other genres. This confers variety and hooks. Asymmetrical is briefer but also more homogenous than most, meaning its impact through brevity is diluted.
Drugs of Faith won’t change your life through musical innovation, mind-blowing melodies, or relentless variety. But it’s just about entertaining enough for existing grind aficionados seeking 20 minutes of catharsis. The interesting production and weaponized chaos give Asymmetrical a sharp edge. However, I doubt that it will be entertaining enough for those who aren’t already on the grind bandwagon because the riffs don’t have the power I want them to.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Selfmadegod Records
Websites: facebook.com/drugsoffaith | drugsoffaith.bandcamp.com
Releases worldwide: February 21st, 2025#25 #2025 #AgoraphobicNosebleed #AmericanMetal #Asymmetrical #BeatenToDeath #DrugsOfFaith #Feb25 #Grindcore #Review #Reviews
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Drugs of Faith – Asymmetrical Review
By El Cuervo
Though the group may have swerved any attention at AngryMetalGuy.com, and swerved a full-length album for more than 13 years, Virginia’s Drugs of Faith have no shortage of grindcore pedigree. Besides a smorgasbord of demos, EPs, splits, and singles, Richard Johnson of Agoraphobic Nosebleed notoriety graces the band with guitar and vocals. Asymmetrical is their latest release and promises an uneven spread of musical directions and lyrical themes on a base built on punky, noisy grind. Does it deliver?
It certainly delivers on noise. The word “chaos” (or its derivatives) appeared no fewer than seven times in my notes describing these ten tracks. Intensity and off-kilter energy are splattered all over Asymmetrical, but there are particular moments that stand out. I particularly enjoy the lead over the first half of “Drones”; it blends a chromatic melody with trilling flourishes, expressed through tumultuous, tremolo-picked guitars. Likewise, the discordance over the first half of “Divestment” builds an unsettling wall of noise. Layered on top are vocals that lever the sneering edge of punk and the super-charged energy of hardcore. It coalesces into just 21 minutes of speedy, energetic grindcore designed to spark you out of your everyday tedium. Its lo-fi, roughshod style strikes quickly and strikes hard.
Distinguishing the Drugs of Faith sound slightly are the drums and bass that sit further forward in the mix than the guitars which sit relatively far back. The purring bass is a standout, commanding the songs’ progression with a pleasingly-grounded rumble. Despite this advantage, and the reasonably-unique production caused by the mix, setting the guitars back means the riffs – that typically switch between stomping grooves and sawing swings – don’t have as much clout as they should. This dilutes one of the key components of Asymmetrical’s memorability. The grinding guitars in the middle of the mix contribute to the general cacophony and chaos but ultimately make the music more forgettable. By way of comparison, the opening lead on “Gas Mask” is surprisingly crunchy and differentiates itself because the bass guitar isn’t there to cover everything in its distortion. I enjoy the album’s overall aesthetic but the moments where the guitars are exposed allow them to have more impact.
Because of the mix that blunts its songs’ riffs, Asymmetrical begins to blur across its side A. Side B attempts to refresh the album’s sound, but isn’t able to quite do enough. I’ve already described the crunchy opening on “Gas Mask”, but the frenzied guitar solo on “The Void” does its part too. Again, prioritizing the guitar does some good for the song’s memorability and contributes to the insanity. Similarly, “The Next 100 Years” uses a cleaner guitar transition between passages, and there are call-and-response shouts on “Essential.” Each of these is just a small part of their respective tracks but they offer new textures on an album that doesn’t care too much for musical variety. While a band like Beaten to Death offers utterly atypical grindcore, one of the things I love about them is how their core sound expands with fragments of other genres. This confers variety and hooks. Asymmetrical is briefer but also more homogenous than most, meaning its impact through brevity is diluted.
Drugs of Faith won’t change your life through musical innovation, mind-blowing melodies, or relentless variety. But it’s just about entertaining enough for existing grind aficionados seeking 20 minutes of catharsis. The interesting production and weaponized chaos give Asymmetrical a sharp edge. However, I doubt that it will be entertaining enough for those who aren’t already on the grind bandwagon because the riffs don’t have the power I want them to.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Selfmadegod Records
Websites: facebook.com/drugsoffaith | drugsoffaith.bandcamp.com
Releases worldwide: February 21st, 2025#25 #2025 #AgoraphobicNosebleed #AmericanMetal #Asymmetrical #BeatenToDeath #DrugsOfFaith #Feb25 #Grindcore #Review #Reviews
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Drugs of Faith – Asymmetrical Review
By El Cuervo
Though the group may have swerved any attention at AngryMetalGuy.com, and swerved a full-length album for more than 13 years, Virginia’s Drugs of Faith have no shortage of grindcore pedigree. Besides a smorgasbord of demos, EPs, splits, and singles, Richard Johnson of Agoraphobic Nosebleed notoriety graces the band with guitar and vocals. Asymmetrical is their latest release and promises an uneven spread of musical directions and lyrical themes on a base built on punky, noisy grind. Does it deliver?
It certainly delivers on noise. The word “chaos” (or its derivatives) appeared no fewer than seven times in my notes describing these ten tracks. Intensity and off-kilter energy are splattered all over Asymmetrical, but there are particular moments that stand out. I particularly enjoy the lead over the first half of “Drones”; it blends a chromatic melody with trilling flourishes, expressed through tumultuous, tremolo-picked guitars. Likewise, the discordance over the first half of “Divestment” builds an unsettling wall of noise. Layered on top are vocals that lever the sneering edge of punk and the super-charged energy of hardcore. It coalesces into just 21 minutes of speedy, energetic grindcore designed to spark you out of your everyday tedium. Its lo-fi, roughshod style strikes quickly and strikes hard.
Distinguishing the Drugs of Faith sound slightly are the drums and bass that sit further forward in the mix than the guitars which sit relatively far back. The purring bass is a standout, commanding the songs’ progression with a pleasingly-grounded rumble. Despite this advantage, and the reasonably-unique production caused by the mix, setting the guitars back means the riffs – that typically switch between stomping grooves and sawing swings – don’t have as much clout as they should. This dilutes one of the key components of Asymmetrical’s memorability. The grinding guitars in the middle of the mix contribute to the general cacophony and chaos but ultimately make the music more forgettable. By way of comparison, the opening lead on “Gas Mask” is surprisingly crunchy and differentiates itself because the bass guitar isn’t there to cover everything in its distortion. I enjoy the album’s overall aesthetic but the moments where the guitars are exposed allow them to have more impact.
Because of the mix that blunts its songs’ riffs, Asymmetrical begins to blur across its side A. Side B attempts to refresh the album’s sound, but isn’t able to quite do enough. I’ve already described the crunchy opening on “Gas Mask”, but the frenzied guitar solo on “The Void” does its part too. Again, prioritizing the guitar does some good for the song’s memorability and contributes to the insanity. Similarly, “The Next 100 Years” uses a cleaner guitar transition between passages, and there are call-and-response shouts on “Essential.” Each of these is just a small part of their respective tracks but they offer new textures on an album that doesn’t care too much for musical variety. While a band like Beaten to Death offers utterly atypical grindcore, one of the things I love about them is how their core sound expands with fragments of other genres. This confers variety and hooks. Asymmetrical is briefer but also more homogenous than most, meaning its impact through brevity is diluted.
Drugs of Faith won’t change your life through musical innovation, mind-blowing melodies, or relentless variety. But it’s just about entertaining enough for existing grind aficionados seeking 20 minutes of catharsis. The interesting production and weaponized chaos give Asymmetrical a sharp edge. However, I doubt that it will be entertaining enough for those who aren’t already on the grind bandwagon because the riffs don’t have the power I want them to.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Selfmadegod Records
Websites: facebook.com/drugsoffaith | drugsoffaith.bandcamp.com
Releases worldwide: February 21st, 2025#25 #2025 #AgoraphobicNosebleed #AmericanMetal #Asymmetrical #BeatenToDeath #DrugsOfFaith #Feb25 #Grindcore #Review #Reviews
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Drugs of Faith – Asymmetrical Review
By El Cuervo
Though the group may have swerved any attention at AngryMetalGuy.com, and swerved a full-length album for more than 13 years, Virginia’s Drugs of Faith have no shortage of grindcore pedigree. Besides a smorgasbord of demos, EPs, splits, and singles, Richard Johnson of Agoraphobic Nosebleed notoriety graces the band with guitar and vocals. Asymmetrical is their latest release and promises an uneven spread of musical directions and lyrical themes on a base built on punky, noisy grind. Does it deliver?
It certainly delivers on noise. The word “chaos” (or its derivatives) appeared no fewer than seven times in my notes describing these ten tracks. Intensity and off-kilter energy are splattered all over Asymmetrical, but there are particular moments that stand out. I particularly enjoy the lead over the first half of “Drones”; it blends a chromatic melody with trilling flourishes, expressed through tumultuous, tremolo-picked guitars. Likewise, the discordance over the first half of “Divestment” builds an unsettling wall of noise. Layered on top are vocals that lever the sneering edge of punk and the super-charged energy of hardcore. It coalesces into just 21 minutes of speedy, energetic grindcore designed to spark you out of your everyday tedium. Its lo-fi, roughshod style strikes quickly and strikes hard.
Distinguishing the Drugs of Faith sound slightly are the drums and bass that sit further forward in the mix than the guitars which sit relatively far back. The purring bass is a standout, commanding the songs’ progression with a pleasingly-grounded rumble. Despite this advantage, and the reasonably-unique production caused by the mix, setting the guitars back means the riffs – that typically switch between stomping grooves and sawing swings – don’t have as much clout as they should. This dilutes one of the key components of Asymmetrical’s memorability. The grinding guitars in the middle of the mix contribute to the general cacophony and chaos but ultimately make the music more forgettable. By way of comparison, the opening lead on “Gas Mask” is surprisingly crunchy and differentiates itself because the bass guitar isn’t there to cover everything in its distortion. I enjoy the album’s overall aesthetic but the moments where the guitars are exposed allow them to have more impact.
Because of the mix that blunts its songs’ riffs, Asymmetrical begins to blur across its side A. Side B attempts to refresh the album’s sound, but isn’t able to quite do enough. I’ve already described the crunchy opening on “Gas Mask”, but the frenzied guitar solo on “The Void” does its part too. Again, prioritizing the guitar does some good for the song’s memorability and contributes to the insanity. Similarly, “The Next 100 Years” uses a cleaner guitar transition between passages, and there are call-and-response shouts on “Essential.” Each of these is just a small part of their respective tracks but they offer new textures on an album that doesn’t care too much for musical variety. While a band like Beaten to Death offers utterly atypical grindcore, one of the things I love about them is how their core sound expands with fragments of other genres. This confers variety and hooks. Asymmetrical is briefer but also more homogenous than most, meaning its impact through brevity is diluted.
Drugs of Faith won’t change your life through musical innovation, mind-blowing melodies, or relentless variety. But it’s just about entertaining enough for existing grind aficionados seeking 20 minutes of catharsis. The interesting production and weaponized chaos give Asymmetrical a sharp edge. However, I doubt that it will be entertaining enough for those who aren’t already on the grind bandwagon because the riffs don’t have the power I want them to.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Selfmadegod Records
Websites: facebook.com/drugsoffaith | drugsoffaith.bandcamp.com
Releases worldwide: February 21st, 2025#25 #2025 #AgoraphobicNosebleed #AmericanMetal #Asymmetrical #BeatenToDeath #DrugsOfFaith #Feb25 #Grindcore #Review #Reviews
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Viogression – Thaumaturgic Veil Review
By Angry Metal Guy
By: Nameless_n00b_602
For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?
Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.
But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.
Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.
While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.
Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression
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Viogression – Thaumaturgic Veil Review
By Angry Metal Guy
By: Nameless_n00b_602
For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?
Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.
But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.
Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.
While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.
Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression
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Viogression – Thaumaturgic Veil Review
By Angry Metal Guy
By: Nameless_n00b_602
For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?
Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.
But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.
Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.
While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.
Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression
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Viogression – Thaumaturgic Veil Review
By Angry Metal Guy
By: Nameless_n00b_602
For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?
Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.
But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.
Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.
While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.
Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression
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Viogression – Thaumaturgic Veil Review
By Angry Metal Guy
By: Nameless_n00b_602
For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?
Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.
But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.
Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.
While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.
Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression
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Stuck in the Filter: July 2025’s Angry Misses
By Kenstrosity
If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!
Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!
Kenstrosity’s Blackened Buds
Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]
Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.
Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]
Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!
Owlswald’s Hidden Hoots
Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]
While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.
Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]
Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.
Tyme’s Tattered Treats
Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]
From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.
Stomach // Low Demon [July 18th, 2025 – Self-Release]
Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.
Killjoy’s Flutes of Fancy
Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]
Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.
Storchi // By Far Away [July 25th, 2025 – Self-Release]
I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.
ClarkKent’s Addictive Addition
Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]
Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”
#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes
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By Steel Druhm
In the history of death metal, Massacre were one of the early pioneers. They were cranking out demos in the mid-80s that would help set the parameters of what death metal would become and lineups included death luminaries like Allen West, Rick Rozz, Bill Andrews, and Kam Lee. Unfortunately, due to various issues Massacre didn’t get a proper album released until 1990 and by then the genre was alive and already evolving beyond them. A disastrous sophomore outing derailed the band before they ever really got going and that was that. 2021 saw two competing versions of Massacre release albums. Inhuman Condition featured several former Massacre members and aimed for their classic sound, and Massacre themselves launched Resurgence with original vocalist Kam Lee getting help from death metal workaholic Rogga Johansson. Resurgence was fun, primitive death for the old school oldies, but looking back, I definitely overrated it. Now we get the second album from the Kam/Rogga alliance and with Necrolution they’ve delivered a classic death platter carbon dated to 1990 but containing a few unexpected and unusual twists and turns. Can these old dawgs bring new energy to a crusty, moldy project?
Necrolution finds Massacre still in their proto-death safe space in line with their From Beyond debut. Opener “Fear of the Unknown” is like something from the late 80s and it could have appeared on From Beyond and fit right in. It’s early days caveman brutality, but it feels oddly diluted somehow. It segues into an out-of-left-field exotic Middle Eastern-themed interlude with symphonic and female choral work before switching to something that sounds like Candlemess-style epic doom metal on “Rituals of the Abyss.” The song eventually kicks over to a punky, Celtic Frost-inspired brand of Neanderthal death with all sorts of Tom G. Warrior-esque “UHs” and “OHs,” but the leaps between styles are too jarring and confusing. When Massacre sticks to their sweet spot you get enjoyably dumb bashers like “Ensnarers Within” and “The Colour Out of Space,” both of which hammer you with simple but effective riffage and Kam’s Cookie Monster cartoony death roars. The classic Massacre sound is generally present with the slightly punky energy from the old days offering no frills, brainless beatings. There are traces of the classic Swedeath d-beat mixed in for added spice, though things are kept more in the American style for much of the album’s runtime.
The back half has a few stompers too, with “Shriek of the Castle Freak” feeling like an extra-inspired dose of rancid Autopsy-core with an irresistibly scuzzy energy, and “Ad Infinitum: The Final Hour” brings down thew deathhammer hard with simple but effective thug death metal. The problem With Necrolution is that even the best moments tetter on the precipe of generic and stock death, and there are some underwhelming moments along with too many pointless interludes interrupting the forward momentum. “The Things That Were and Shall Be” is okay but feels like watered-down Deicide mixed with classic metal although it features plenty of classic Kam Lee “ARRRRRRRs” and “HEEEEEYs.” “Dead-Life: ReAnimator” is also decent but nothing special. As much as I’m a fan of the style and sound Massacre deploys here, I don’t connect with some of the material as strongly as I should considering I’m the olde death fogey demographic. When it works though, good ugly fun can be had. At 48-plus minutes, Necrolution feels a bit long-winded, and chopping a few lesser tracks would help make it a more focused, ass-kicking spin.
As always Kam Lee is a joy to hear. He gets credit for more or less inventing death vocals and he’s still got a large and in-charge roar. Yes, he often sounds like a 20-foot-tall Cookie Monster, but that’s part of the fun. He’s a legend in the genre he helped create and he brings much phlegm and rot to the pit. Extremely well-traveled death institution Mr. Rogga (Paganizer, Putrevore, Ribspreader, and 500 other bands) and almost equally seasoned axe-man Johnny Pettersson (Rotpit, Heads for the Dead, Wombbath, etc.) know their way around the riff machine and bring a motley collection of chugs, grooves, d-beats, and doom plods to the slaughter. They do a good job keeping the songs moving and bouncing and provide a steady diet of headbangable moments. There’s nothing special or unique to what this version of Massacre do, but if you love the olden style of death metal, there’s a lot to appreciate in how they execute it.
I want to love Necrolution more than I do. It has its share of fun moments but it has some so-so moments too and the excessive, out-of-place interludes distract from the brain-smashing. If this is where Massacre is destined to sit quality-wise, I can live with that and will give every release a spin and mine the best moments. This won’t be on many year-end lists but it’s still an enjoyable ride with some familiar fiends.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 256 kbps mp3
Label: Agonia
Websites: massacre3.bandcamp.com | facebook.com/massacrebandusa | instagram.com/massacre_band_official
Releases Worldwide: November 8th, 2024#25 #2024 #AgoniaRecords #AmericanMetal #DeathMetal #InhumanCondition #Massacre #Necrolution #Nov24 #Resurgence #Review #Reviews
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By Steel Druhm
In the history of death metal, Massacre were one of the early pioneers. They were cranking out demos in the mid-80s that would help set the parameters of what death metal would become and lineups included death luminaries like Allen West, Rick Rozz, Bill Andrews, and Kam Lee. Unfortunately, due to various issues Massacre didn’t get a proper album released until 1990 and by then the genre was alive and already evolving beyond them. A disastrous sophomore outing derailed the band before they ever really got going and that was that. 2021 saw two competing versions of Massacre release albums. Inhuman Condition featured several former Massacre members and aimed for their classic sound, and Massacre themselves launched Resurgence with original vocalist Kam Lee getting help from death metal workaholic Rogga Johansson. Resurgence was fun, primitive death for the old school oldies, but looking back, I definitely overrated it. Now we get the second album from the Kam/Rogga alliance and with Necrolution they’ve delivered a classic death platter carbon dated to 1990 but containing a few unexpected and unusual twists and turns. Can these old dawgs bring new energy to a crusty, moldy project?
Necrolution finds Massacre still in their proto-death safe space in line with their From Beyond debut. Opener “Fear of the Unknown” is like something from the late 80s and it could have appeared on From Beyond and fit right in. It’s early days caveman brutality, but it feels oddly diluted somehow. It segues into an out-of-left-field exotic Middle Eastern-themed interlude with symphonic and female choral work before switching to something that sounds like Candlemess-style epic doom metal on “Rituals of the Abyss.” The song eventually kicks over to a punky, Celtic Frost-inspired brand of Neanderthal death with all sorts of Tom G. Warrior-esque “UHs” and “OHs,” but the leaps between styles are too jarring and confusing. When Massacre sticks to their sweet spot you get enjoyably dumb bashers like “Ensnarers Within” and “The Colour Out of Space,” both of which hammer you with simple but effective riffage and Kam’s Cookie Monster cartoony death roars. The classic Massacre sound is generally present with the slightly punky energy from the old days offering no frills, brainless beatings. There are traces of the classic Swedeath d-beat mixed in for added spice, though things are kept more in the American style for much of the album’s runtime.
The back half has a few stompers too, with “Shriek of the Castle Freak” feeling like an extra-inspired dose of rancid Autopsy-core with an irresistibly scuzzy energy, and “Ad Infinitum: The Final Hour” brings down thew deathhammer hard with simple but effective thug death metal. The problem With Necrolution is that even the best moments tetter on the precipe of generic and stock death, and there are some underwhelming moments along with too many pointless interludes interrupting the forward momentum. “The Things That Were and Shall Be” is okay but feels like watered-down Deicide mixed with classic metal although it features plenty of classic Kam Lee “ARRRRRRRs” and “HEEEEEYs.” “Dead-Life: ReAnimator” is also decent but nothing special. As much as I’m a fan of the style and sound Massacre deploys here, I don’t connect with some of the material as strongly as I should considering I’m the olde death fogey demographic. When it works though, good ugly fun can be had. At 48-plus minutes, Necrolution feels a bit long-winded, and chopping a few lesser tracks would help make it a more focused, ass-kicking spin.
As always Kam Lee is a joy to hear. He gets credit for more or less inventing death vocals and he’s still got a large and in-charge roar. Yes, he often sounds like a 20-foot-tall Cookie Monster, but that’s part of the fun. He’s a legend in the genre he helped create and he brings much phlegm and rot to the pit. Extremely well-traveled death institution Mr. Rogga (Paganizer, Putrevore, Ribspreader, and 500 other bands) and almost equally seasoned axe-man Johnny Pettersson (Rotpit, Heads for the Dead, Wombbath, etc.) know their way around the riff machine and bring a motley collection of chugs, grooves, d-beats, and doom plods to the slaughter. They do a good job keeping the songs moving and bouncing and provide a steady diet of headbangable moments. There’s nothing special or unique to what this version of Massacre do, but if you love the olden style of death metal, there’s a lot to appreciate in how they execute it.
I want to love Necrolution more than I do. It has its share of fun moments but it has some so-so moments too and the excessive, out-of-place interludes distract from the brain-smashing. If this is where Massacre is destined to sit quality-wise, I can live with that and will give every release a spin and mine the best moments. This won’t be on many year-end lists but it’s still an enjoyable ride with some familiar fiends.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 256 kbps mp3
Label: Agonia
Websites: massacre3.bandcamp.com | facebook.com/massacrebandusa | instagram.com/massacre_band_official
Releases Worldwide: November 8th, 2024#25 #2024 #AgoniaRecords #AmericanMetal #DeathMetal #InhumanCondition #Massacre #Necrolution #Nov24 #Resurgence #Review #Reviews
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By Steel Druhm
In the history of death metal, Massacre were one of the early pioneers. They were cranking out demos in the mid-80s that would help set the parameters of what death metal would become and lineups included death luminaries like Allen West, Rick Rozz, Bill Andrews, and Kam Lee. Unfortunately, due to various issues Massacre didn’t get a proper album released until 1990 and by then the genre was alive and already evolving beyond them. A disastrous sophomore outing derailed the band before they ever really got going and that was that. 2021 saw two competing versions of Massacre release albums. Inhuman Condition featured several former Massacre members and aimed for their classic sound, and Massacre themselves launched Resurgence with original vocalist Kam Lee getting help from death metal workaholic Rogga Johansson. Resurgence was fun, primitive death for the old school oldies, but looking back, I definitely overrated it. Now we get the second album from the Kam/Rogga alliance and with Necrolution they’ve delivered a classic death platter carbon dated to 1990 but containing a few unexpected and unusual twists and turns. Can these old dawgs bring new energy to a crusty, moldy project?
Necrolution finds Massacre still in their proto-death safe space in line with their From Beyond debut. Opener “Fear of the Unknown” is like something from the late 80s and it could have appeared on From Beyond and fit right in. It’s early days caveman brutality, but it feels oddly diluted somehow. It segues into an out-of-left-field exotic Middle Eastern-themed interlude with symphonic and female choral work before switching to something that sounds like Candlemess-style epic doom metal on “Rituals of the Abyss.” The song eventually kicks over to a punky, Celtic Frost-inspired brand of Neanderthal death with all sorts of Tom G. Warrior-esque “UHs” and “OHs,” but the leaps between styles are too jarring and confusing. When Massacre sticks to their sweet spot you get enjoyably dumb bashers like “Ensnarers Within” and “The Colour Out of Space,” both of which hammer you with simple but effective riffage and Kam’s Cookie Monster cartoony death roars. The classic Massacre sound is generally present with the slightly punky energy from the old days offering no frills, brainless beatings. There are traces of the classic Swedeath d-beat mixed in for added spice, though things are kept more in the American style for much of the album’s runtime.
The back half has a few stompers too, with “Shriek of the Castle Freak” feeling like an extra-inspired dose of rancid Autopsy-core with an irresistibly scuzzy energy, and “Ad Infinitum: The Final Hour” brings down thew deathhammer hard with simple but effective thug death metal. The problem With Necrolution is that even the best moments tetter on the precipe of generic and stock death, and there are some underwhelming moments along with too many pointless interludes interrupting the forward momentum. “The Things That Were and Shall Be” is okay but feels like watered-down Deicide mixed with classic metal although it features plenty of classic Kam Lee “ARRRRRRRs” and “HEEEEEYs.” “Dead-Life: ReAnimator” is also decent but nothing special. As much as I’m a fan of the style and sound Massacre deploys here, I don’t connect with some of the material as strongly as I should considering I’m the olde death fogey demographic. When it works though, good ugly fun can be had. At 48-plus minutes, Necrolution feels a bit long-winded, and chopping a few lesser tracks would help make it a more focused, ass-kicking spin.
As always Kam Lee is a joy to hear. He gets credit for more or less inventing death vocals and he’s still got a large and in-charge roar. Yes, he often sounds like a 20-foot-tall Cookie Monster, but that’s part of the fun. He’s a legend in the genre he helped create and he brings much phlegm and rot to the pit. Extremely well-traveled death institution Mr. Rogga (Paganizer, Putrevore, Ribspreader, and 500 other bands) and almost equally seasoned axe-man Johnny Pettersson (Rotpit, Heads for the Dead, Wombbath, etc.) know their way around the riff machine and bring a motley collection of chugs, grooves, d-beats, and doom plods to the slaughter. They do a good job keeping the songs moving and bouncing and provide a steady diet of headbangable moments. There’s nothing special or unique to what this version of Massacre do, but if you love the olden style of death metal, there’s a lot to appreciate in how they execute it.
I want to love Necrolution more than I do. It has its share of fun moments but it has some so-so moments too and the excessive, out-of-place interludes distract from the brain-smashing. If this is where Massacre is destined to sit quality-wise, I can live with that and will give every release a spin and mine the best moments. This won’t be on many year-end lists but it’s still an enjoyable ride with some familiar fiends.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 256 kbps mp3
Label: Agonia
Websites: massacre3.bandcamp.com | facebook.com/massacrebandusa | instagram.com/massacre_band_official
Releases Worldwide: November 8th, 2024#25 #2024 #AgoniaRecords #AmericanMetal #DeathMetal #InhumanCondition #Massacre #Necrolution #Nov24 #Resurgence #Review #Reviews
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AMG Goes Ranking – Megadeth By Grin Reaper
The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band like at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
#2026 #AmericanMetal #AMGGoesRanking #AMGRankings #Angra #Dystopia #Endgame #FrankZappa #IronMaiden #Jan26 #JoeSatriani #JohannSebastianBach #Megadeth #Metallica #Quadvium #Savatage #SexPistols #SuperCollider #Testament #Th1rt3en #TheSickTheDyingAndTheDead #Thirteen #ThrashMetal #TransSiberianOrchestra -
AMG Goes Ranking – Megadeth By Grin Reaper
The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
Show 25 footnotes
- Onions. Belts. You know the drill. ↩
- I’d also like to thank Owlswald, Baguette of Bodom, Andy War-Hall, Tyme, and Dolph for the enthusiasm and conversation as we plumbed MegaDave’s back catalog, as well as Steely D for his gruff assent that enabled it. ↩
- You mean no. – Dolph ↩
- It feels wrong to have an album this good ranked so low. Though I stand by my rankings, this is testimony to the strength of the material from this point on. ↩
- Not that Youthanasia was especially thrashy, mind, but such was the state of Megadeth at the time. ↩
- And it’s not even clooooooose. ↩
- As is my wont, unless I’m doing a shuffle. ↩
- Although I could do without the Sex Pistols cover. At least bolt it onto the end. ↩
- So…many…ellipses! – Owlswald ↩
- Sam Goody, anyone? – Owlswald ↩
- More specifically, I would rank the original version of Countdown and Risk one spot lower, KIMB two spots lower, and Cryptic Writings a whopping three spots lower. Yeah, that original mix really blows, huh? – Baguette ↩
- It’s not just one of their best songs; it’s one of Dave’s best vocal performances. The producer managing to get real emotion out of Dave’s questionable voice is award-worthy. – Baguette ↩
- You know what they say: the less your band sounds like Maiden, the more it sucks. At least, that’s what I say. – Baguette ↩
- I refuse to write out the actual name a second time on principle. Sorry! – Baguette ↩
- Thirteen is also the last Megadeth album where Dave sounds ‘good,’ which is to say bad in the way you want and expect. – Baguette ↩
- And much like Youthanasia, it’s also a top 3 album in their discography. –Baguette ↩
- Fuck streaming services for making this sort of thing undocumented and unnecessarily complicated. At least the original mix is available nowadays…Baguette ↩
- The most common complaint about it is the re-recorded vocals. I don’t get it; most of the changes are indistinguishable, and even when they aren’t (“Five Magics”), Dave sounds like shit regardless. In a good way! Baguette ↩
- Yes, even “Dawn Patrol.” It’s so much fun, and a crucial part of the album’s flow; I’d never want to skip it. – Baguette ↩
- As funny as it is to hear Mustaine describe his favorite action figure on “Psychotron” or hear his prison screenplay on “Captive Honour,” they’re just not as vital as everything before them. – Andy ↩
- I know! They’re all MegaDave solo records to a degree. – Tyme ↩
- I am an unapologetic fan of “The Scorpion”! – Tyme ↩
- Yes, I know AtL was ‘87, but it was recorded in ’86 you musical pedants!!! Oh, and thanks GR! – Tyme ↩
- I will also die on the hill that “Liar” is one of the best Megadeth songs ever, and yes that is in part because of the wacky, Mega-’80s shred solo. And Dave spewing more words per minute than in any other Megadeth song. It’s fast. It’s angry. It’s everything. – Dolph ↩
- Yes, yes, you did. – Dolph ↩
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AMG Goes Ranking – Megadeth By Grin Reaper
The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band like at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
#2026 #AmericanMetal #AMGGoesRanking #AMGRankings #Angra #Dystopia #Endgame #FrankZappa #IronMaiden #Jan26 #JoeSatriani #JohannSebastianBach #Megadeth #Metallica #Quadvium #Savatage #SexPistols #SuperCollider #Testament #Th1rt3en #TheSickTheDyingAndTheDead #Thirteen #ThrashMetal #TransSiberianOrchestra -
AMG Goes Ranking – Megadeth By Grin Reaper
The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band like at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
#2026 #AmericanMetal #AMGGoesRanking #AMGRankings #Angra #Dystopia #Endgame #FrankZappa #IronMaiden #Jan26 #JoeSatriani #JohannSebastianBach #Megadeth #Metallica #Quadvium #Savatage #SexPistols #SuperCollider #Testament #Th1rt3en #TheSickTheDyingAndTheDead #Thirteen #ThrashMetal #TransSiberianOrchestra -
AMG Goes Ranking – Megadeth By Grin Reaper
The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band like at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
#2026 #AmericanMetal #AMGGoesRanking #AMGRankings #Angra #Dystopia #Endgame #FrankZappa #IronMaiden #Jan26 #JoeSatriani #JohannSebastianBach #Megadeth #Metallica #Quadvium #Savatage #SexPistols #SuperCollider #Testament #Th1rt3en #TheSickTheDyingAndTheDead #Thirteen #ThrashMetal #TransSiberianOrchestra -
Stuck in the Filter: April 2024’s Angry Misses
By Kenstrosity
The heat persists. Intensifies, even. We’re not even to the dead center of summer, where pavement melts and sinew sloughs off of bones. And yet, we toil. Endless trudges through the slime and grime of sharply angled ducts and beveled sheet metal characterize an average workday for my filtration minions, who do my bidding without question as I sip a piña colada in these run down and ragged headquarters. Alright fine, we don’t have piña coladas here, but a sponge can dream! A sponge can dream…
What was I saying? Oh, right. After many months of constant pep talks and gentle reminders with a cattle prod, my team of hack crack sifters managed a respectable haul from our April buildup. Dive in at your own peril!
Kenstrosity’s Sooty Slab
Exhumation // Master’s Personae [April 26th, 2024 – Pulverised Records]
Indonesian blackened death duo Exhumation never would’ve made it to my queue were it not for our burgeoning Discord server. Rollicking tunes, produced with a charming rawness that tingles my spine, task themselves with the summary destruction of that same spine and waste no time getting started. From the onset of opener “In Death Vortex,” Master’s Personae eviscerates with rabid teeth gnashing through my flesh. Ghoul (guitars) and Bones (vocals) display their respective talents vomiting souls out of their body and concocting sickening infernal riffs with aplomb—and made damn sure their session musicians could do more than just keep up on bass (Sebek), drums (Aldi), and lead guitar (J. Magus). With songs that kick as much ass-tonnage as highlights “Pierce the Abyssheart,” “Chaos Feasting,” “Thine Inmost Curse,” and late bloomer “Mahapralaya,” the only thing that could possibly stand in between you and total metallic indoctrination is the record’s gritty, extra-crunchy production. For some, that might even be its greatest selling point. Either way, Master’s Personae is, at its core, just a nonstop demonic party. Ipso facto, if you like fun, you like this. If you don’t, leave the Hall!
Thus Spoke’s Chucked Choices
Alpha Wolf // Half Living Things [April 5th, 2024 – SharpTone Records]
Aussie gang Alpha Wolf have always had an “angry” sound, but until now, they remained quite firmly smack dab in the middle of modern metalcore. With Half Living Things,1 however, the band move as far as they ever have into beatdown hardcore, albeit, a very glossy, and very metalcore interpretation of it. While many, myself included, think they sound better with a little bit of intrigue, a little bit of mournful melody and atmosphere, there’s no denying that this album does contain several bone-fide bangers. Opening run “Bring Back the Noise,” “Double-Edge Demise,” and “Haunter,” are a groovy set of smacks upside the head, and later cuts “Feign,” and “A Terrible Day for Rain” echo the same menace, safely keeping your head bobbing and your mean face on. The aggression can veer into the realm of cringe at points, not least on single “Sucks 2 Suck,” which includes the wild misstep of a thuggish rap bridge courtesy of ICE-T. But on the other hand, Alpha Wolf do show they have a heart, with surprisingly sadboi “Whenever You’re Ready,” and closer “Ambivalence.” It’s all pretty angsty, but questionable decisions aside, Half Living Things is worth at least the time it takes you to hear one or two of its best tracks. I’ll always be here for a little bit of adolescent ennui anyway.
Sarcasm // Mourninghoul [April 12th, 2024 – Hammerheart Records]
Whilst still a n00b, I reviewed Sarcasm’s previous album, Stellar Stream Obscured, and, to my initial surprise, really rather liked it. It was simply a quirk of circumstance that I didn’t pick up the promo for Mourninghoul. And looking back on that week, I wish I had. This thing is just as fun, just as furious, and once again the perfect balance between odd and straightforwardly blistering. Once again, they lace creepy organs and synthwork into death doom (“Withered Memories of Souls We Mourn,” “No Solace From Above”) to add a little mystique. Once again, they display some brilliant, beautiful, melodic black(ened death) metal riffery to lead refrains (“Lifelike Sleep,” “Dying Embers of Solitude,” “Absence if Reality”), not only soaking the listener in the nostalgia of the golden years of Dissection and Necrophobic, but memorable and moving in their own right. Overall, the album is a little slower and more atmospheric than its predecessor, but in this light perhaps a little more thoughtful. One to check out for anyone who dug Stellar Stream Obscured.
Dear Hollow’s Loudness Lard
Lord Spikeheart // The Adept [April 19th, 2024 – Haekalu Records]
Lord Spikeheart is the alias of Martin Kanja, one-half of grind/noise duo Duma, whose sole self-titled LP was received warmly back in 2020 by the gone-but-unforgotten Roquentin. Now a solo act, Spikeheart fully embraces the manic in his debut full-length The Adept, a fusion of noise, industrial, trap, grind, and hip-hop and tinged with native Kenyan instruments. – guaranteed to scare off unwanted listeners. Featuring a bevy of featured artists, The Adept is as jerky and unpredictable as you might expect from its laundry list of sounds. Including all, but not limited to, Author & Punisher-level of manufactured brutality (“Sham-Ra”), layers of jagged hip-hop a la Skech185 (“Emblem Blem,” “Djangili,” “33rd Degree Access”), and outright metal guitar solos and blastbeats (“Nobody”), as well as outright bananas explosive Igorrr-esque breakcore seizures and Kenyan percussion (“TYVM”) and ominous sprawls of haunting humid ambiance over manic beats (“Rem Fodder,” “Verbose Patmos,” “4AM in the Mara”), and there is little that is predictable about The Adept. Throw on Lord Spikeheart’s incredible charisma, shocking vocals, and evocative primal songwriting, and you’ve got yourself a tastefully insane and impressively uncomfortable slab of experimentation that feels dangerous and unrelenting in the right ways.
Whores. // War. [April 16th, 2024 – The Ghost is Clear Records]
Sometimes you just need a good concussion and drool out your brains to the curb because you got dinged around so much. Atlanta four-piece Whores. will provide mightily in more ways than one. Professing a riff-heavy noise rock/sludge metal combo reminiscent of Chat Pile or Iron Monkey, each of the tracks in War.’s 34-minute runtime is a thick-ass spanker with thick-ass riffs, bad-ass cymbal abuse, and mad-ass yells, and you’d be a fool to miss this broken-tooth abuse. Groove is embedded in the marrow of each bone, and the swill of riffs and noisy leads will get your head bobbing before you can learn how to pronounce opener “Malinches.” From the outright onslaughts of “Imposter Syndrome” and “Sicko,” to the bass builds and guitar squonks of “Quitter’s Fight Song” and “Hostage Therapy” or punky rhythms of “Hieronymous Bosch was Right” and “The Death of a Stuntman,” you don’t need to get all academic to abuse the drywall, and Whores. will set their teeth behind your bruised knuckles. The message is clear: get unga-bunga with riff.
Spit on Your Grave // Arkanum [April 12th, 2024 – Self Release]
You always run a risk when you change up your sound, even slightly. Mexican death metal peddlers Spit on Your Grave are familiar with it. Formerly bringin’ the slamz and gooey brutal shit to your court with unhinged insanity, Arkanum keeps the core sound while incorporating more tempo and nimbleness, making a blazing death metal album with some Behemoth-esque experimentation that keeps the album from falling into gnarly monotony and injects a necessary regality reflected in its art. Subtle plucking motifs grace opener “The Infection” and closer “The March of the Innocents,” chanting and choirs spruce up limper portions of “Into the Devil’s Realm,” and dancy rhythms and melodeath noodling kick up “Broken Hourglass.” In spite of the levels of experimentation, the riff reigns supreme throughout, made most plain in the no-holds-barred death metal assaults of “The Heretic,” “Dark Lullaby,” and “Self Sacrifice.” It’s somewhere between Behemoth’s wicked conjuration of crowns and Hate Eternal’s blazing scorched earth campaign, and while imperfect, Spit on Your Grave’s new direction is tantalizing.
Dolphin Whisperer’s Crossed Up Casting
Nuclear Tomb // Terror Labyrinthian [April 12th, 2024 – Everlasting Spew]
Filthy, frothing, furious, Nuclear Tomb embodies all that fueled the origins of the thrash and death movements, which actively rejected the tonal shift toward “pleasing” that pop-leaning forms of heavy metal were taking at the time. So, yes, it’s unsurprising to hear a punky and driven bass identity reminiscent of the overdriven pummeling of Dan Lilker in Nuclear Assault or Stéphane Picard in Obliveon. But though thrash rings true in the speed-needing assaults of “Fatal Visions” or “Vile Humanity,” death—the gnarled yet precise riffcraft you would heard in an early Pestilence summoning—feeds ugly and foul this acts hefty ambitions. Terror Labyrinthian gives exactly what its name promises: a sense of profound encapsulation and isolation in the density that Nucleur Tomb conjures alongside a sci-fi-informed fear and terror. Its ambition is such that it can fly off the rails a touch when it gets too moody (“Dominance & Persecution”), and its level of discordance can leave tracks feeling like intangible pulps of sick and snarling riffage (“Manufacturing Consent,” “Parasitic”). Despite these minor concerns, Labyrinthian Terror shakes enough to leave a worthy, full-length mark after two promising EPs. And with members of Nuclear Tomb floating around in their small scene with oddball grinders Ixias and the avant-minded Genevieve, it’s all but a promise that what comes next will be weird, frightening, and demanding.
Steel Druhm’s Rancid Requiems to Rotpitting
Engulfed // Unearthly Litanies of Despair [April 19th, 2024 – Me Saco Ojo]
Straight outta Turkey comes the vicious, face-melting death metal assault of Engulfed. Featuring members of Hyperdontia and Diabolizer and bearing hallmarks of both, Engulfed are a nasty savage on a war march to destroy all that lives and breathes. With a highly seasoned lineup and a lethal mission statement, Unearthly Litanies of Despair is a “not fucking around” kind of death platter full of blazing speed, thunderous blasts, and more sub-basement croaks and roars than you’d find in an illegal Balrog mining facility. All the old school legends get sound checked, with plenty of Vader, Morbid Angel, and Incantation-isms to be unearthed, but to my ears, Engulfed sounds most like brother band Diabolizer. That’s certainly not a bad thing, as anyone who heard 2021s Khalkedonian Death will attest. There’s not much subtly on display on Unearthly Litanies, and Engulfed are happy to blast away at Mach 9 for the bulk of the album’s runtime, only slowing down long enough to let slithery riffs do their tentacle things. It isn’t until the closing stanza “Occult Incantations” that they opt to get down and doomy, and though it runs way long at nearly 8 minutes, it digs up some nicely dark, gloomy textures. All in all a brutal trip to the belly of the beast feaster!
Coffin Curse // The Continuous Nothing [April 22nd, 2024 – Memento Mori]
The sophomore offering from Chile’s Coffin Curse is 100% military grade old school death with enough rot and pus to win over any genre fancier. The Continuous Nothing is really a continuous something, and that something is gnarly, thrashing death goodness in the varicose vein of Autopsy with some Deicide and Morbid Angel in the gore batter. There’s absolutely nothing new here, but the enthusiasm with which Coffin Curse comes at the classic death style is refreshing and invigorating. You’ll be smiling early into opener “Thin the Herd” due to its oh-so-righteous blend of Autopsy and vintage Morbid Angel, and it’s tough to blast “Bacchanal of the Mortal” and not want to throw your BarcaLounger out the fucking window. This is meat n’ tatters gutter death that could have come out in the late 80s or early 90s, but that doesn’t lessen its vitality and impact since these cats know how to write a ripping tune. I’m especially enamored with the disgusting vocals of Max Neira who gives even the hideous Chris Reifert a run for his scuzz-vomit money. This thing is just good, gross fun!
Tombstoner // Rot Stink Rip [April 26th, 2024 – Redefining Darkness]
Staten Island-based death thugs Tombstoner came back to kill with second album Rot Stink Rip, showcasing a whole lotta New York attitude. With a sound mixing mouth-breathing caveman brutality with New York hardcore undertones, the menu items all come with brass knuckles and steel-toed boots to your fat face (no substitutions!). This is street-level tough guy death with a Biohazard/Pantera-level IQ and anything remotely intellectual is tossed in the dumpster like a carpet-wrapped corpse. Songs like “Sealed in Blood” will rot your brain stem as it curb stomps your skull, and the beefy death grooves are ugly, stupid, and dangerous. Internal Bleeding-isms rebound off Skinless idioms amid the brainless forward momentum of the title track, and the groove-busting, barroom-bullying nastiness of primal cuts like “Metamorphosis” and “Reduced to Hate” are made for Roids Appreciation Day at Planet Meathead. The riffs are hella weighty and the overall approach is lead pipe brutality. Don’t bother spinning this if you’re one of those fancy-dancy tech types. This one is strictly for the gashouse gorillas and pimpanzees.
Saunders’ Slimy Selections
Satanic North // Satanic North [April 19th, 2024 – Reaper Entertainment]
Featuring members of Ensiferum, Finnish black metal troupe Satanic North ripped out a seething slab of old school black metal on their self-titled debut. Although the album seemed to drop with minimal fanfare or notice, having been clued into its existence, Satanic North has since provided a helluva fun time. Satanic North pull no punches and dispense with flash or bombast, adding modern beef to an endearingly old school formula that stomps hard. Harnessing the raw, punky, Venom-esque attitude of ’80s black metal, along with distinctive second-wave elements, and dashes of Darkthrone and Goatwhore, Satanic North is a varied, aggressive and utterly addictive opus. Regardless of the mode of destruction the band chooses at any given time, the songwriting quality generally maintains the rage. Grim, icy atmospheres envelope blasting, viciously executed songs, loaded with a bevy of badass riffs and pissed-off attitude. The relentless, hammering blows on opener “War,” sit comfortably alongside the crawling, sinister melodies and infectious hooks of “Village,” while expert pacing and builds highlight epic later album gem, “Kohti Kuolemaa.” Satanic North throw down some awesomely thrashy barnburners for good measure on powerhouse nuggets of black gold in the shape of “Wolf” and closer “Satanic North.” One of 2024’s underrated gems.
Iron Monkey // Spleen & Goad [April 5th, 2024 – Relapse Records]
UK veterans Iron Monkey’s 1998 opus Our Problem is a sludge classic that I’ve held in high regard for many years. Sadly, the untimely death of raw-throated vocalist Johnny Morrow, a distinctive, glass-gurgling beast behind the mic, saw the band dissolve, until reforming and crafting a solid comeback with 2017’s 9-13. Stripped own to a trio in their second coming, with long-serving guitarist Jim Rushby doing an admirable job taking over the vocal slot, Iron Monkey sound as though the piss, vinegar, and hatred still flows in their veins. Spleen & Goad offers few surprises, continuing the trend of its predecessor while maintaining the signature Iron Monkey sound. And although Iron Monkey cannot quite match the esteemed heights of their early days, this modern, well-trodden incarnation of the band still bludgeons, grooves and seethes with sledgehammer force and infectiously diseased riffs. Channeling the bluesy Sabbathian meets NOLA mode of sludge, with a side of Grief, and a shit ton of spite, the Iron Monkey lads deliver the goods again. Noisy, feedback-drenched bruisers rule the day; as swaggering, drunken grooves, surly riffs, and feral vocals drive this unhinged hate machine. Spleen & Goad is victim to some creeping bloat, however overall, it’s a stellar return and addition to their storied catalog, as rugged, bludgeoning cuts like “Misanthropizer,” “Concrete Shock,” “Rat Flag” and “Lead Transfusion” attests.
Mystikus Hugebeard’s Filthy Finding
Diabolic Oath // Oracular Hexations [April 5th, 2024 – Sentient Ruin Laboratories]
Oracular Hexations is a blast. It is a chaotic, colossally dense album of what can ostensibly be called blackened death metal, but the music is just so fucking filthy it might as well be sludge. The fun thing here is that the guitar and bass are completely fretless; the riffs aren’t hard to parse but the guitars feel almost slippery. It allows the brutal riffage of a heavy track like “Serpent Coils Suffocating the Mortal Wound” to become borderline hallucinogenic, while still hitting like a truck. The slower, oozing riffs of “Rusted Madness Tethering Misbegotten Haruspices” and “Winged Ouroboros Mutating Unto Gold” have a real viscosity to them that always reminds me of the stoner doom stylings of Conan. This album is definitely a lot, but it’s an extremely satisfying listen. The fretless imprecision paired with the music’s intensity, the delightfully disgusting guitar tone, and the vocalist’s tectonic gurgles all give Oracular Hexations a ritualistic atmosphere so thick you can practically sink into it. There’s plenty one could say about the musicianship—the drummer deserves praise for his diverse, technical performance—but trying to dial in on any one ingredient is like trying to appreciate the subtle flavor undertones of sheep stomach in a plate of haggis. Just cram the whole thing in at once, man, because this is the kind of sensory brutalization that you’ve gotta just let happen to you.
Iceberg’s Singular Surfacing
Venomous Echoes // Split Formations and Infinite Mania [April 05, 2024 – I, Voidhanger Records]
Extreme metal’s penchant for horror and destruction never ceases to amaze me. It doesn’t matter how I came across Venomous Echoes second album Split Formations and Infinite Mania, one look at that album cover and the curtain rise of squelching music within had me transfixed. Brutal Floridian death metal meets the dissonant disintegration of Portal meets the crushing weight of funeral doom and they all come together in the unrated cut of a Cronenberg flick. One-man-band Benjamin Vanweelden takes the listener inside his own personal hell as he wrestles with body dysmorphia, making for an experience not unlike recent cuts by An Isolated Mind or The Reticent. This is challenging, highly uncomfortable music, abandoning pitch and rhythm at will, bending and twisting notes and smothering the listener with oppressive atmosphere. From the sickening stomping sound effects of opener “Ocular Maltosis ov Schizophrenia” to the ultra-dissonant ostinato and DSBM wailing of closer “Split Formations and Infinite Mania,” this album is the definition of the car crash you can’t look away from. Far outside any zone of comfort is exactly where Vanweelden wants his listeners, and I have to say this makes for a sickly impressive, revolting, yet mesmerizing experience.
#AlphaWolf #AmericanMetal #AnIsolatedMind #Arkanum #AustralianMetal #AuthorPunisher #AuthorAndPunisher #Autopsy #Behemoth #Biohazard #BlackMetal #BlackSabbath #BlackenedDeathMetal #BrutalDeathMetal #ChatPile #ChileanMetal #CoffinCurse #Darkthrone #DeathMetal #Deicide #DiabolicOath #Diabolizer #Dissection #Duma #Engulfed #Ensiferum #EverlastingSpewRecords #Exhumation #FinnishMetal #FuneralDoom #Genevieve #Goatwhore #Grief #Grind #Grindcore #HaekaluRecords #HalfLivingThings #HammerheartRecords #Hardcore #HipHop #Hyperdontia #IVoidhangerRecords #Igorrr #Incantation #IndonesianMetal #Industrial #InternalBleeding #IronMonkey #Ixias #KenyanMetal #LordSpikeheart #MasterSPersonae #MeSacoUnOjoRecords #MelodicBlackMetal #MelodicDeathMetal #MementoMoriRecords #Metalcore #MexicanMetal #MorbidAngel #Mourninghoul #Necrophobic #Noise #NuclearAssault #NuclearTomb #Obliveon #OracularHexations #Pantera #Pestilence #Portal #PulverisedRecords #RawBlackMetal #ReaperEntertainment #RedefiningDarknessRecords #RelapseRecords #Review #Reviews #RotStinkRip #Sarcasm #SatanicNorth #SelfRelease #SharpToneRecords #Skech185 #Skinless #Slam #Sludge #SludgeMetal #SpitOnYourGrave #SpleenGoad #SplitFormationsAndInfiniteMania #StuckInTheFilter #SwedishMetal #TerrorLabyrinthian #TheAdept #TheContinuousNothing #TheGhostIsClearRecords #TheReticent #ThrashMetal #Tombstoner #Trap #TurkishMetal #UKMetal #UnearthlyLitaniesOfDespair #Vader #Venom #VenomousEchoes #War #Whores_
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Stuck in the Filter: April 2024’s Angry Misses
By Kenstrosity
The heat persists. Intensifies, even. We’re not even to the dead center of summer, where pavement melts and sinew sloughs off of bones. And yet, we toil. Endless trudges through the slime and grime of sharply angled ducts and beveled sheet metal characterize an average workday for my filtration minions, who do my bidding without question as I sip a piña colada in these run down and ragged headquarters. Alright fine, we don’t have piña coladas here, but a sponge can dream! A sponge can dream…
What was I saying? Oh, right. After many months of constant pep talks and gentle reminders with a cattle prod, my team of hack crack sifters managed a respectable haul from our April buildup. Dive in at your own peril!
Kenstrosity’s Sooty Slab
Exhumation // Master’s Personae [April 26th, 2024 – Pulverised Records]
Indonesian blackened death duo Exhumation never would’ve made it to my queue were it not for our burgeoning Discord server. Rollicking tunes, produced with a charming rawness that tingles my spine, task themselves with the summary destruction of that same spine and waste no time getting started. From the onset of opener “In Death Vortex,” Master’s Personae eviscerates with rabid teeth gnashing through my flesh. Ghoul (guitars) and Bones (vocals) display their respective talents vomiting souls out of their body and concocting sickening infernal riffs with aplomb—and made damn sure their session musicians could do more than just keep up on bass (Sebek), drums (Aldi), and lead guitar (J. Magus). With songs that kick as much ass-tonnage as highlights “Pierce the Abyssheart,” “Chaos Feasting,” “Thine Inmost Curse,” and late bloomer “Mahapralaya,” the only thing that could possibly stand in between you and total metallic indoctrination is the record’s gritty, extra-crunchy production. For some, that might even be its greatest selling point. Either way, Master’s Personae is, at its core, just a nonstop demonic party. Ipso facto, if you like fun, you like this. If you don’t, leave the Hall!
Thus Spoke’s Chucked Choices
Alpha Wolf // Half Living Things [April 5th, 2024 – SharpTone Records]
Aussie gang Alpha Wolf have always had an “angry” sound, but until now, they remained quite firmly smack dab in the middle of modern metalcore. With Half Living Things,1 however, the band move as far as they ever have into beatdown hardcore, albeit, a very glossy, and very metalcore interpretation of it. While many, myself included, think they sound better with a little bit of intrigue, a little bit of mournful melody and atmosphere, there’s no denying that this album does contain several bone-fide bangers. Opening run “Bring Back the Noise,” “Double-Edge Demise,” and “Haunter,” are a groovy set of smacks upside the head, and later cuts “Feign,” and “A Terrible Day for Rain” echo the same menace, safely keeping your head bobbing and your mean face on. The aggression can veer into the realm of cringe at points, not least on single “Sucks 2 Suck,” which includes the wild misstep of a thuggish rap bridge courtesy of ICE-T. But on the other hand, Alpha Wolf do show they have a heart, with surprisingly sadboi “Whenever You’re Ready,” and closer “Ambivalence.” It’s all pretty angsty, but questionable decisions aside, Half Living Things is worth at least the time it takes you to hear one or two of its best tracks. I’ll always be here for a little bit of adolescent ennui anyway.
Sarcasm // Mourninghoul [April 12th, 2024 – Hammerheart Records]
Whilst still a n00b, I reviewed Sarcasm’s previous album, Stellar Stream Obscured, and, to my initial surprise, really rather liked it. It was simply a quirk of circumstance that I didn’t pick up the promo for Mourninghoul. And looking back on that week, I wish I had. This thing is just as fun, just as furious, and once again the perfect balance between odd and straightforwardly blistering. Once again, they lace creepy organs and synthwork into death doom (“Withered Memories of Souls We Mourn,” “No Solace From Above”) to add a little mystique. Once again, they display some brilliant, beautiful, melodic black(ened death) metal riffery to lead refrains (“Lifelike Sleep,” “Dying Embers of Solitude,” “Absence if Reality”), not only soaking the listener in the nostalgia of the golden years of Dissection and Necrophobic, but memorable and moving in their own right. Overall, the album is a little slower and more atmospheric than its predecessor, but in this light perhaps a little more thoughtful. One to check out for anyone who dug Stellar Stream Obscured.
Dear Hollow’s Loudness Lard
Lord Spikeheart // The Adept [April 19th, 2024 – Haekalu Records]
Lord Spikeheart is the alias of Martin Kanja, one-half of grind/noise duo Duma, whose sole self-titled LP was received warmly back in 2020 by the gone-but-unforgotten Roquentin. Now a solo act, Spikeheart fully embraces the manic in his debut full-length The Adept, a fusion of noise, industrial, trap, grind, and hip-hop and tinged with native Kenyan instruments. – guaranteed to scare off unwanted listeners. Featuring a bevy of featured artists, The Adept is as jerky and unpredictable as you might expect from its laundry list of sounds. Including all, but not limited to, Author & Punisher-level of manufactured brutality (“Sham-Ra”), layers of jagged hip-hop a la Skech185 (“Emblem Blem,” “Djangili,” “33rd Degree Access”), and outright metal guitar solos and blastbeats (“Nobody”), as well as outright bananas explosive Igorrr-esque breakcore seizures and Kenyan percussion (“TYVM”) and ominous sprawls of haunting humid ambiance over manic beats (“Rem Fodder,” “Verbose Patmos,” “4AM in the Mara”), and there is little that is predictable about The Adept. Throw on Lord Spikeheart’s incredible charisma, shocking vocals, and evocative primal songwriting, and you’ve got yourself a tastefully insane and impressively uncomfortable slab of experimentation that feels dangerous and unrelenting in the right ways.
Whores. // War. [April 16th, 2024 – The Ghost is Clear Records]
Sometimes you just need a good concussion and drool out your brains to the curb because you got dinged around so much. Atlanta four-piece Whores. will provide mightily in more ways than one. Professing a riff-heavy noise rock/sludge metal combo reminiscent of Chat Pile or Iron Monkey, each of the tracks in War.’s 34-minute runtime is a thick-ass spanker with thick-ass riffs, bad-ass cymbal abuse, and mad-ass yells, and you’d be a fool to miss this broken-tooth abuse. Groove is embedded in the marrow of each bone, and the swill of riffs and noisy leads will get your head bobbing before you can learn how to pronounce opener “Malinches.” From the outright onslaughts of “Imposter Syndrome” and “Sicko,” to the bass builds and guitar squonks of “Quitter’s Fight Song” and “Hostage Therapy” or punky rhythms of “Hieronymous Bosch was Right” and “The Death of a Stuntman,” you don’t need to get all academic to abuse the drywall, and Whores. will set their teeth behind your bruised knuckles. The message is clear: get unga-bunga with riff.
Spit on Your Grave // Arkanum [April 12th, 2024 – Self Release]
You always run a risk when you change up your sound, even slightly. Mexican death metal peddlers Spit on Your Grave are familiar with it. Formerly bringin’ the slamz and gooey brutal shit to your court with unhinged insanity, Arkanum keeps the core sound while incorporating more tempo and nimbleness, making a blazing death metal album with some Behemoth-esque experimentation that keeps the album from falling into gnarly monotony and injects a necessary regality reflected in its art. Subtle plucking motifs grace opener “The Infection” and closer “The March of the Innocents,” chanting and choirs spruce up limper portions of “Into the Devil’s Realm,” and dancy rhythms and melodeath noodling kick up “Broken Hourglass.” In spite of the levels of experimentation, the riff reigns supreme throughout, made most plain in the no-holds-barred death metal assaults of “The Heretic,” “Dark Lullaby,” and “Self Sacrifice.” It’s somewhere between Behemoth’s wicked conjuration of crowns and Hate Eternal’s blazing scorched earth campaign, and while imperfect, Spit on Your Grave’s new direction is tantalizing.
Dolphin Whisperer’s Crossed Up Casting
Nuclear Tomb // Terror Labyrinthian [April 12th, 2024 – Everlasting Spew]
Filthy, frothing, furious, Nuclear Tomb embodies all that fueled the origins of the thrash and death movements, which actively rejected the tonal shift toward “pleasing” that pop-leaning forms of heavy metal were taking at the time. So, yes, it’s unsurprising to hear a punky and driven bass identity reminiscent of the overdriven pummeling of Dan Lilker in Nuclear Assault or Stéphane Picard in Obliveon. But though thrash rings true in the speed-needing assaults of “Fatal Visions” or “Vile Humanity,” death—the gnarled yet precise riffcraft you would heard in an early Pestilence summoning—feeds ugly and foul this acts hefty ambitions. Terror Labyrinthian gives exactly what its name promises: a sense of profound encapsulation and isolation in the density that Nucleur Tomb conjures alongside a sci-fi-informed fear and terror. Its ambition is such that it can fly off the rails a touch when it gets too moody (“Dominance & Persecution”), and its level of discordance can leave tracks feeling like intangible pulps of sick and snarling riffage (“Manufacturing Consent,” “Parasitic”). Despite these minor concerns, Labyrinthian Terror shakes enough to leave a worthy, full-length mark after two promising EPs. And with members of Nuclear Tomb floating around in their small scene with oddball grinders Ixias and the avant-minded Genevieve, it’s all but a promise that what comes next will be weird, frightening, and demanding.
Steel Druhm’s Rancid Requiems to Rotpitting
Engulfed // Unearthly Litanies of Despair [April 19th, 2024 – Me Saco Ojo]
Straight outta Turkey comes the vicious, face-melting death metal assault of Engulfed. Featuring members of Hyperdontia and Diabolizer and bearing hallmarks of both, Engulfed are a nasty savage on a war march to destroy all that lives and breathes. With a highly seasoned lineup and a lethal mission statement, Unearthly Litanies of Despair is a “not fucking around” kind of death platter full of blazing speed, thunderous blasts, and more sub-basement croaks and roars than you’d find in an illegal Balrog mining facility. All the old school legends get sound checked, with plenty of Vader, Morbid Angel, and Incantation-isms to be unearthed, but to my ears, Engulfed sounds most like brother band Diabolizer. That’s certainly not a bad thing, as anyone who heard 2021s Khalkedonian Death will attest. There’s not much subtly on display on Unearthly Litanies, and Engulfed are happy to blast away at Mach 9 for the bulk of the album’s runtime, only slowing down long enough to let slithery riffs do their tentacle things. It isn’t until the closing stanza “Occult Incantations” that they opt to get down and doomy, and though it runs way long at nearly 8 minutes, it digs up some nicely dark, gloomy textures. All in all a brutal trip to the belly of the beast feaster!
Coffin Curse // The Continuous Nothing [April 22nd, 2024 – Memento Mori]
The sophomore offering from Chile’s Coffin Curse is 100% military grade old school death with enough rot and pus to win over any genre fancier. The Continuous Nothing is really a continuous something, and that something is gnarly, thrashing death goodness in the varicose vein of Autopsy with some Deicide and Morbid Angel in the gore batter. There’s absolutely nothing new here, but the enthusiasm with which Coffin Curse comes at the classic death style is refreshing and invigorating. You’ll be smiling early into opener “Thin the Herd” due to its oh-so-righteous blend of Autopsy and vintage Morbid Angel, and it’s tough to blast “Bacchanal of the Mortal” and not want to throw your BarcaLounger out the fucking window. This is meat n’ tatters gutter death that could have come out in the late 80s or early 90s, but that doesn’t lessen its vitality and impact since these cats know how to write a ripping tune. I’m especially enamored with the disgusting vocals of Max Neira who gives even the hideous Chris Reifert a run for his scuzz-vomit money. This thing is just good, gross fun!
Tombstoner // Rot Stink Rip [April 26th, 2024 – Redefining Darkness]
Staten Island-based death thugs Tombstoner came back to kill with second album Rot Stink Rip, showcasing a whole lotta New York attitude. With a sound mixing mouth-breathing caveman brutality with New York hardcore undertones, the menu items all come with brass knuckles and steel-toed boots to your fat face (no substitutions!). This is street-level tough guy death with a Biohazard/Pantera-level IQ and anything remotely intellectual is tossed in the dumpster like a carpet-wrapped corpse. Songs like “Sealed in Blood” will rot your brain stem as it curb stomps your skull, and the beefy death grooves are ugly, stupid, and dangerous. Internal Bleeding-isms rebound off Skinless idioms amid the brainless forward momentum of the title track, and the groove-busting, barroom-bullying nastiness of primal cuts like “Metamorphosis” and “Reduced to Hate” are made for Roids Appreciation Day at Planet Meathead. The riffs are hella weighty and the overall approach is lead pipe brutality. Don’t bother spinning this if you’re one of those fancy-dancy tech types. This one is strictly for the gashouse gorillas and pimpanzees.
Saunders’ Slimy Selections
Satanic North // Satanic North [April 19th, 2024 – Reaper Entertainment]
Featuring members of Ensiferum, Finnish black metal troupe Satanic North ripped out a seething slab of old school black metal on their self-titled debut. Although the album seemed to drop with minimal fanfare or notice, having been clued into its existence, Satanic North has since provided a helluva fun time. Satanic North pull no punches and dispense with flash or bombast, adding modern beef to an endearingly old school formula that stomps hard. Harnessing the raw, punky, Venom-esque attitude of ’80s black metal, along with distinctive second-wave elements, and dashes of Darkthrone and Goatwhore, Satanic North is a varied, aggressive and utterly addictive opus. Regardless of the mode of destruction the band chooses at any given time, the songwriting quality generally maintains the rage. Grim, icy atmospheres envelope blasting, viciously executed songs, loaded with a bevy of badass riffs and pissed-off attitude. The relentless, hammering blows on opener “War,” sit comfortably alongside the crawling, sinister melodies and infectious hooks of “Village,” while expert pacing and builds highlight epic later album gem, “Kohti Kuolemaa.” Satanic North throw down some awesomely thrashy barnburners for good measure on powerhouse nuggets of black gold in the shape of “Wolf” and closer “Satanic North.” One of 2024’s underrated gems.
Iron Monkey // Spleen & Goad [April 5th, 2024 – Relapse Records]
UK veterans Iron Monkey’s 1998 opus Our Problem is a sludge classic that I’ve held in high regard for many years. Sadly, the untimely death of raw-throated vocalist Johnny Morrow, a distinctive, glass-gurgling beast behind the mic, saw the band dissolve, until reforming and crafting a solid comeback with 2017’s 9-13. Stripped own to a trio in their second coming, with long-serving guitarist Jim Rushby doing an admirable job taking over the vocal slot, Iron Monkey sound as though the piss, vinegar, and hatred still flows in their veins. Spleen & Goad offers few surprises, continuing the trend of its predecessor while maintaining the signature Iron Monkey sound. And although Iron Monkey cannot quite match the esteemed heights of their early days, this modern, well-trodden incarnation of the band still bludgeons, grooves and seethes with sledgehammer force and infectiously diseased riffs. Channeling the bluesy Sabbathian meets NOLA mode of sludge, with a side of Grief, and a shit ton of spite, the Iron Monkey lads deliver the goods again. Noisy, feedback-drenched bruisers rule the day; as swaggering, drunken grooves, surly riffs, and feral vocals drive this unhinged hate machine. Spleen & Goad is victim to some creeping bloat, however overall, it’s a stellar return and addition to their storied catalog, as rugged, bludgeoning cuts like “Misanthropizer,” “Concrete Shock,” “Rat Flag” and “Lead Transfusion” attests.
Mystikus Hugebeard’s Filthy Finding
Diabolic Oath // Oracular Hexations [April 5th, 2024 – Sentient Ruin Laboratories]
Oracular Hexations is a blast. It is a chaotic, colossally dense album of what can ostensibly be called blackened death metal, but the music is just so fucking filthy it might as well be sludge. The fun thing here is that the guitar and bass are completely fretless; the riffs aren’t hard to parse but the guitars feel almost slippery. It allows the brutal riffage of a heavy track like “Serpent Coils Suffocating the Mortal Wound” to become borderline hallucinogenic, while still hitting like a truck. The slower, oozing riffs of “Rusted Madness Tethering Misbegotten Haruspices” and “Winged Ouroboros Mutating Unto Gold” have a real viscosity to them that always reminds me of the stoner doom stylings of Conan. This album is definitely a lot, but it’s an extremely satisfying listen. The fretless imprecision paired with the music’s intensity, the delightfully disgusting guitar tone, and the vocalist’s tectonic gurgles all give Oracular Hexations a ritualistic atmosphere so thick you can practically sink into it. There’s plenty one could say about the musicianship—the drummer deserves praise for his diverse, technical performance—but trying to dial in on any one ingredient is like trying to appreciate the subtle flavor undertones of sheep stomach in a plate of haggis. Just cram the whole thing in at once, man, because this is the kind of sensory brutalization that you’ve gotta just let happen to you.
Iceberg’s Singular Surfacing
Venomous Echoes // Split Formations and Infinite Mania [April 05, 2024 – I, Voidhanger Records]
Extreme metal’s penchant for horror and destruction never ceases to amaze me. It doesn’t matter how I came across Venomous Echoes second album Split Formations and Infinite Mania, one look at that album cover and the curtain rise of squelching music within had me transfixed. Brutal Floridian death metal meets the dissonant disintegration of Portal meets the crushing weight of funeral doom and they all come together in the unrated cut of a Cronenberg flick. One-man-band Benjamin Vanweelden takes the listener inside his own personal hell as he wrestles with body dysmorphia, making for an experience not unlike recent cuts by An Isolated Mind or The Reticent. This is challenging, highly uncomfortable music, abandoning pitch and rhythm at will, bending and twisting notes and smothering the listener with oppressive atmosphere. From the sickening stomping sound effects of opener “Ocular Maltosis ov Schizophrenia” to the ultra-dissonant ostinato and DSBM wailing of closer “Split Formations and Infinite Mania,” this album is the definition of the car crash you can’t look away from. Far outside any zone of comfort is exactly where Vanweelden wants his listeners, and I have to say this makes for a sickly impressive, revolting, yet mesmerizing experience.
#AlphaWolf #AmericanMetal #AnIsolatedMind #Arkanum #AustralianMetal #AuthorPunisher #AuthorAndPunisher #Autopsy #Behemoth #Biohazard #BlackMetal #BlackSabbath #BlackenedDeathMetal #BrutalDeathMetal #ChatPile #ChileanMetal #CoffinCurse #Darkthrone #DeathMetal #Deicide #DiabolicOath #Diabolizer #Dissection #Duma #Engulfed #Ensiferum #EverlastingSpewRecords #Exhumation #FinnishMetal #FuneralDoom #Genevieve #Goatwhore #Grief #Grind #Grindcore #HaekaluRecords #HalfLivingThings #HammerheartRecords #Hardcore #HipHop #Hyperdontia #IVoidhangerRecords #Igorrr #Incantation #IndonesianMetal #Industrial #InternalBleeding #IronMonkey #Ixias #KenyanMetal #LordSpikeheart #MasterSPersonae #MeSacoUnOjoRecords #MelodicBlackMetal #MelodicDeathMetal #MementoMoriRecords #Metalcore #MexicanMetal #MorbidAngel #Mourninghoul #Necrophobic #Noise #NuclearAssault #NuclearTomb #Obliveon #OracularHexations #Pantera #Pestilence #Portal #PulverisedRecords #RawBlackMetal #ReaperEntertainment #RedefiningDarknessRecords #RelapseRecords #Review #Reviews #RotStinkRip #Sarcasm #SatanicNorth #SelfRelease #SharpToneRecords #Skech185 #Skinless #Slam #Sludge #SludgeMetal #SpitOnYourGrave #SpleenGoad #SplitFormationsAndInfiniteMania #StuckInTheFilter #SwedishMetal #TerrorLabyrinthian #TheAdept #TheContinuousNothing #TheGhostIsClearRecords #TheReticent #ThrashMetal #Tombstoner #Trap #TurkishMetal #UKMetal #UnearthlyLitaniesOfDespair #Vader #Venom #VenomousEchoes #War #Whores_
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The #sexpistols are going back on tour, without #JohnLydon (I guess he's butthurt about losing a court case to the rest of them). They sure don't seem to like him very much.
https://apnews.com/article/sex-pistols-us-tour-punk-johnny-rotten-5494f39cb72f5b309722d98e6c1c5ccf
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:stargif: 𝑳𝒐𝒔 𝑰𝒍𝒍𝒖𝒎𝒊𝒏𝒂𝒕𝒊: 𝑹𝒆𝒂𝒍𝒊𝒅𝒂𝒅 𝒐 𝑴𝒊𝒕𝒐 :stargif:
Los Illuminati, también llamados Iluminados de Baviera, fueron una sociedad secreta real que existió entre 1776 y 1785.
Fundada por Adam Weishaupt en Ingolstadt, Baviera, esta orden buscaba difundir los ideales de la Ilustración: combatir la influencia de la religión en la política, limitar el poder absoluto del Estado y fomentar la educación racional.
La organización estaba estructurada jerárquicamente, con niveles de iniciación como Novicio, Minerval e Iluminado Minerval, y se inspiró parcialmente en la organización de los Jesuitas, aunque sus miembros eran críticos de ellos.
Para crecer, se infiltraron en logias masónicas y reclutaron intelectuales, políticos y nobles influyentes, incluyendo a Johann Wolfgang von Goethe.
La orden fue prohibida en 1784-1785 por el elector Carlos Teodoro, bajo presión de la Iglesia Católica, lo que forzó la persecución de sus miembros y el exilio de Weishaupt.Símbolos reales:
⚬ El Mochuelo de Minerva representaba la sabiduría y la vigilancia en la oscuridad.
⚬ El Ojo que todo lo ve, aunque asociado hoy con ellos, es un símbolo cristiano y masónico; su aparición en el billete de un dólar proviene de los padres fundadores de EE. UU., no de la orden de Baviera.
𝘌𝘭 𝘮𝘪𝘵𝘰 moderno y teorías conspirativas
Tras su disolución, los Illuminati comenzaron a mezclarse con mitos y teorías conspirativas.
Se les atribuye el control secreto de gobiernos, bancos y medios de comunicación para crear un “Nuevo Orden Mundial”.
Entre las acusaciones más conocidas se incluyen la organización de la Revolución Francesa, los atentados del 11‑S y el asesinato de figuras como Abraham Lincoln y John F. Kennedy, aunque no existe evidencia histórica que lo respalde.En la cultura pop, el gesto triangular o “Diamante” y el Ojo que todo lo ve se han interpretado como símbolos Illuminati, aunque la mayoría de expertos lo consideran estética o marketing.
Famosos señalados por el gesto:
Jay‑Z: Gesto del diamante (“The Roc”), que es el logo de su sello discográfico Roc-A-Fella Records, representando éxito y ventas “diamante”.
Teóricos lo interpretan como pirámide Illuminati.Beyoncé: Frecuentemente hace el gesto en conciertos y videos; sus hijas han sido captadas haciendo lo mismo.
En su canción “Formation” desmiente cualquier relación con los Illuminati.Rihanna: Popularizó el gesto durante su era “Good Girl Gone Bad”.
Teóricos afirman que representa un pacto por su ascenso a la fama.Angela Merkel: Su gesto “Merkel-Raute” se interpreta como “Triángulo de Poder” por conspiranoicos, aunque ella lo describe simplemente como comodidad y estabilidad.
Otros: Kanye West, LeBron James, Lady Gaga, Katy Perry, Daft Punk y Jim Carrey; la mayoría utilizan estos símbolos con fines escénicos, estéticos o de parodia.
𝘋𝘪𝘧𝘦𝘳𝘦𝘯𝘤𝘪𝘢 𝘤𝘰𝘯 𝘭𝘢 Masonería
Aunque los Illuminati utilizaron logias masónicas para crecer, son organizaciones distintas.
La Masonería sigue existiendo con ritos públicos y edificios visibles, mientras que los Illuminati desaparecieron hace más de 200 años.𝘓𝘶𝘨𝘢𝘳𝘦𝘴 asociados al mito
⚬ Grupo Bilderberg: Conferencia privada anual de líderes políticos, magnates y reyes en hoteles de lujo de Europa.
⚬ Bohemian Grove (California): Campamento exclusivo donde hombres poderosos realizan rituales simbólicos frente a un búho gigante.
⚬ Sun Valley (Idaho): Encuentros privados de CEOs y dueños de medios de comunicación.
𝘙𝘪𝘵𝘶𝘢𝘭𝘦𝘴 y leyendas urbanas
⚬ Cremación del Cuidado: Ceremonia real en Bohemian Grove donde se quema una efigie frente al búho; es simbólica, no un sacrificio humano.
⚬ Sacrificios por la fama: Teorías modernas en TikTok y YouTube afirman que artistas deben sacrificar seres queridos para alcanzar la cima; no hay evidencia.
⚬ Control mental (MK Ultra): Creencia de que se manipulan personalidades para crear “Monarcas” en la música o cine; basado en experimentos reales de la CIA, pero exagerado.
⚬ Adrenocromo: Sustancia real (adrenalina oxidada), sin propiedades mágicas; teorías de extracción de niños son falsas.
⚬ Aeropuerto Internacional de Denver: Murales con soldados, niños y ciudades en llamas, la estatua Blue Mustang y la placa de la “New World Airport Commission” generan teorías de culto; en realidad son arte y logística.
𝘌𝘯 𝘳𝘦𝘴𝘶𝘮𝘦𝘯
Los Illuminati originales fueron un grupo filosófico con fines educativos y anti-absolutistas.
La mayoría de teorías modernas sobre control global, sacrificios y simbología son exageraciones o marketing, pero su misterio sigue fascinando a la cultura contemporánea.▣▣▣▣▣▣▣▣▣▣▣▣▣▣▣▣▣▣
#illuminati #sociedadessecretas #mitoyrealidad #historia #conspiracion #simbolos #misterio #cultura
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Johnny Thunders at the Music Machine in London
Johnny plays a Gibson Les Paul Junior, whose namesake and inventor of Les Paul guitars was born 110 years ago today.
Photo by Erica Echenberg
#punk #punks #punkrock #johnnythunders #lespaul #history #punkrockhistory #otd
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punk-poet John Cooper Clarke sits-in for punk-progenitor Iggy Pop on #BBCRadio6Music
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Johnny Rotten enjoying the snow, New York, January 1978. Photo © Joe Stevens
#punk #punks #punkrock #johnnyrotten #SexPistols #PublicImageLimited #history #punkrockhistory
