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4.2 out of 5 stars
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on 4 June 2013
There's been a colossal amount of feedback from fans and the media alike regarding this album. I have to admit I didn't know what to expect and upon my first listen I let the trashy reviews get to me and I was pretty disappointed... however a fair few considered listens later the fog cleared and I have to say I really like it. First up, if you're a thrash nut who listens to stuff like slayer, early tallica, kreator, testament etc then no, this isn't the album for you, check out Endgame. But, as we've witnessed from CTE to now, Megadeth can do a lot more than thrash and this is one of their finest examples.

After Endgame came out I thought wow, they've smashed it, what are they gonna do next? Th1rt3en was good, but I have to admit I didn't think it was up to par in the same way, but then it was their last record for Roadrunner so I think it was probably done to finish the contract (hence the mish-mash of old demos/half-released songs from various eras and two songs written for video games).

Super Collider is cut from an altogether different cloth. It's got genuinely some of the most interesting and new songwriting the band have put out in a while, I'm not going to claim they're the new grand innovators in metal or that no one else has done anything like this but I really like the sound and for Megadeth, this is pretty novel (check The Blackest Crow). There are plenty of really cool guitar licks, riffs and melodies that you wouldn't expect to hear from a deth record, though the core elements are still there. A key example would be Dance in the Rain. A fantastic track mixing old and new perfectly. And featuring some of Dave's best vocals in a while, plus a surprisingly good cameo from David Draiman (Disturbed/Device).

Anyway it's hard to explain exactly why I like this album so much, but all I would say is, you're not all going to dig it fair enough, but, give it a fair go and try and ignore the biased reviews. Trust me, there are some super cool riffs and actually, with the D tuning, megs actually haven't sounded this heavy in a while, but it's Sabbath heavy, slower but crushing and really really cool (and you can definitely hear the Sabbath influences). A great example is the beginning of sorrow. Slower, but crushing with a super cool riff and some great singing.

One final thing, the artwork is stunning. The cover's really cool (and is the best 3D cover I've ever seen, perfect idea) but wow, the booklet art is the best artwork Megadeth have had in the modern era and it is definitely up there with the classics. Cyborg/robot vic looks so damn badass, John Lorenzi has done a stellar job. I would get it just for that, I can't wait for my vinyl to arrive to see it in large!

In conclusion, thrash nuts won't find much to love (Evile's new album Skull will do you there), but for those who fancy giving this a go, it rewards those who give it a fair chance... and there's the artwork!

Update: In response to a review above, David's bass is very clear on this album, you can definitely hear it well and he has some really cool parts.
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on 21 March 2016
This is a lot better than I expected. I held off buying it for a couple of years, only giving in when Dystopia kicked my backside so hard I wanted more Megadeth and, since this was the only CD of theirs I didn't have....
The negativity around this is probably justified, but not totally. Yes, there's too much of the mid-paced hard rock fans didn't want, and Drover's drumming is so unadventurous it could be a drum machine but there's some great music on here.
When I heard about them using a banjo I thought, "Enough is enough, I won't be buying that." But that track actually works well!
Ditto, the David Draiman thing. I can't stand nu-metal and had no interest in hearing him on a Megadeth album but...I don't even know which track he appears on, I've never noticed his vocals. Clearly he doesn't do the "oh-wah-ah-ah-ah" thing he's famous for. Thank God.
Even "Burn" with it's ridiculous lyrics is a solid tune and the "Cold Sweat" cover is really good.
"Kingmaker" is probably the stand out, with some great thrashing and brilliant soloing from both Broderick and Mustaine, while "Built For War" is also solid.
Overall, I can be more forgiving with this because Dystopia is such a great return to (mostly) the thrash we all wanted, with excellent drumming and lead guitar work.
So give this a try!
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on 6 June 2013
Having read the negative reviews I foolishly expected the worst on this album. At my age I should have known to listen then judge for myself. Having heard it I can honestly say I love it. Dance in the Rain may well be the best Megadeth song on any album, full stop. I literally got goose bumps. Expecting a "rock" album I was happily surprised to hear metal and heavy riffs aplenty. I am left wondering what album those who think it sounds like Risk were actually listening to. This is certainly not a soft album, and in totality nothing, absolutely nothing like Risk, or even Cryptic Writings for that matter. I cannot emphasise that enough- this is NOT Risk 2. In all (all songs combined) I found it heavier (whatever that means anyway) than Youthanasia, Countdown to Extinction or any of their other slower, less thrashy albums. The fact is Megadeth have always included melody in their songs, more than the other members of the big four of thrash. It is no secret; listen to any of their first four albums and you will find melody in abundance on those too, and they are the albums everyone considers their true thrash era. I am not sure why this album is getting some one star reviews, but each to their own. Maybe Megadeth are judged harder than other metal bands, who knows? For what it is worth I would say it combines elements of their first four albums, with bits of United Abominations and Endgame, plus some of Countdown to Extinction and The World Needs a Hero. I enjoyed it far, far more than Thirteen too. Bands cannot win sometimes; if they don't change people say they sound the same album after album. If they do change, even a little, they get people pointing the finger at that too. As a Megadeth fan I say forget labels and buy and enjoy. In the end who cares if it is called thrash, rock or metal or, as in this case, a seamless hybrid of all three. It is just good music played by extremely talented musicians. Great artwork inside and out too. PS Vic is on the cover, look down the tunnel. As a Megadeth fan I say forget pointless labels and enjoy.
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on 21 November 2013
Yet again, I'm provoked into writing because I'm shaking my head with astonishment at some of the reviews I'm seeing here. 'It's not exactly metal'? And, god forbid, there's a 'single' on it? Obviously many of these correspondents were not even alive back in the day. 'Peace Sells..?' What was that - chopped liver?
If you love your Thrash catchy, groovy, tuneful ( gasp! ), this will rock your world. Listen to the opener. Try NOT nodding your head in supreme obeisance at the swaggering confidence in those sinuous, killer riffs. The guitar tone is GLORIOUS. Clear as a bell, without losing any power.
Maybe Mustaine isn't bothered about writing those tortuous, labyrinthine guitar lines anymore? Maybe he'd rather write 'songs'? He still throws in those effortless curveballs that stop things becoming predictable, but he does it without feeling the need to grandstand. Why should he? He has nothing left to prove. If Metallica actually made an album this good - with a similar production - we would all be bowing to the gods of metal that they found their mojo again. But they never will. This is Metal at it's most thrilling and crowd-pleasing. Fantastic.
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on 6 August 2013
After hearing Th1rt3en and not being impressed with it other than "Public Enemy No.1" and "Who's Life (Is It Anyways?)", and even those songs had something about them that wasn't to be taken to seriously, I didn't know what to expect when I heard that they were working on another album that was slated to come out in June.

Even during the earliest stages of recording they had a release date for June and they actually released it in June, now that's some old school work ethic.
I regress. So while the album was being recorded we got these cleverly cryptic audio/video snapshots of the album, where you could only hear a mish mash of sounds with only a faint sense of the riffs and music to come. This added to the mystique of album and Megadeth have always had a little bit of mystique to their music, ever since their debut album in 1985 their style was so innovative and technically proficient that while listening to the music's mind blowing melody, speed and intrictate rhythms, you couldn't help but to feel the music also.

But still there wasn't much to gleam song wise from the clips, but they were exciting nonetheless. So interviews about the album might provide more information about the direction of the album. And the interviews defintely hinted at a more direct approach to the song writing. Dave Mustaine said in interviews that he was focusing more on melody this time around and David Ellefson compared some the heavier moments on the new album to "Killing Is My Business...And Business Is Good!". Hmmm, that defintely is a interesting and new direction and it sounds like a pretty difficult thing to accomplish actually. But this album really does just that and it's done in a not quite evident way and it's very clevery crafted.

The thing that stands most true about this album is the overall consistency, top to bottom, every single song stands on it's own as a quality piece of metal/hard rock songwriting and performance. There are 10 original penned tunes and a cover of a classic Thin Lizzy song in the main track listing and as a bonus there are 2 more original tunes and a outstanding live version of the title track from their 1992 masterpiece "Countdown To Extinction".

In summary this is the most perfect album Megadeth could have made in 2013. Megadeth are not young pups anymore, and I'm not saying they are getting too old, it's quite the opposite actually. Megadeth are a group of seasoned veterans that know how to get the job done and they are playing to their strengths while focusing on many of the essential elements of Megadeth's style. So how exactly are they accomplishing that? Well they are smoothing out their sound a bit, but this has been done without sacrificing any of the attitude or heaviness. By tuning their guitars 1 whole step down to a D-Tuning they add a depth to their sound that is unprecedented and by slowing down the tempo the melodies have more room to move around in. And also lyrically this album delivers, with some lyrics that are very timely. (Check out Dave Mustaine discussing all songs and lyrics on Spotify's album commentary version of Super Collider).

In closing this album neither tries to replicate Megadeth's thrashier albums nor does it emulate their radio friendly albums. It's just what it is. It's a collection of strong songs with more than a few excellent musical efforts and some truly exhilarating moments, it's Super Collider!
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on 6 July 2013
Megadeth's 14th studio release, following four excellent albums since their 2004 'comeback'. However, in this reviewers opinion, it is probably their worst. It certainly ranks alongside Risk, which although better than people remember, is not a Megadeth album. This is similar, the moments of thrash are few and far between and it would fit in well in the era of Risk and Cryptic Writings. Megadeth albums usually start with an interesting thrashy intro but this has none - it's just straight into Kingmaker, probably the best song on the album. The album loses it after this because the following songs (Super Collider and Burn) are average at best and most importantly slow. So, songs two and three are poor but redemption is on the way in the form of Built For War, the second best song on the album. Built for War is typical Megadeth, fast, thrashy, a war theme with great musicianship. Unfortunately, Built for War is merely a blip as the album descends into more mid-paced rock music in the form of Off The Edge, Dance in the Dark and Beginning of Sorrow. The Blackest Crow has an interesting and unusual feel but the following song Forget to Remember is another slowish, rather boring, forgettable (lol) number. Don't Turn Your Back has some good verses but a poor chorus which leads us to an excellent version of Cold Sweat by Thin Lizzy. That's three good songs and eight average ones. When I first listened to it I thought the songs sounded like they were the ones that never made it onto 13 - it has that feel. The version I have has three extra tracks which are OK but nothing special and includes a fairly pointless live version of Countdown to Extinction. Ask yourself this, will Megadeth, if they're still touring in 10 years, play anything from this album? The answer is probably no.
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on 11 September 2013
This is a different album to Mustaine's others granted. I don't much like the production of it and the mixes used, just the way it sounds seems to shabby to me personally.

Having said that, when it works it truly does work. The stand out tracks 'Dance In the Rain' and 'Don't turn your back' are truly great metal songs, and if they had appeared on Rust In Peace that album would have gone down in history even more highly rated than it already justifiably is.

That's the thing about this album. Every track could very well belong on another album, and despite what people say only one would belong on the abhorrent '99 release 'Risk'.

I'm in a minority when I say that this is better than Endgame and Thirteen. Its better, because there isn't ONE song or lyrical line barking on about the 'New World Order' conspiracy BS and that's absolutely a good thing.
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on 13 June 2013
This album took a few listens. It's had plenty of scorn, and my initial reaction was it was half baked. Saw them live, and it began to grow. Having re-toured "Countdown" for the 20th celebrations, the songcrafting rather than songthrashing vibe of that era seems to be the influence here. Speed-pop-groove-metal call it what you want, it sounds more like a band contribution than anything that Megadeth have produced in years. Of course, judge for yourself...
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on 5 June 2013
If you're expecting Rust in peace, Peace sells or End game you'll be disappointed but it's still a very good album, admittedly not exactly metal and not exactly what you'd expect from a megadeth album but the guitar riffs are furious and you'll still have a good time listening to this as long as you go in to this knowing full well that this isn't the usual megadeth album. So if you're expecting Peace sells and you won't be happy with anything else don't buy this album but if you're okay with the fact that they are doing something different here then by all means this is the album for you.
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on 2 July 2013
Title says it all. I agree with all those who say it grows on you. My only advise is: give it time before you reject it.
There's been a tremendous amount of negative press for new Megadeth masterpiece. Don't buy into this before running it 3-4 times, otherwise you might get badly influenced by this negativity. I for one can't stop listening to it since I started to listen to it but it didn't sink in at first. I learned long time ago, that Megadeth albums need time to register and this album is probably their most demanding in this manner. It's deceptively light and "rocky" but believe there is much more to it, than just simple rock tune. Give it time and make your own opinion
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