MEGADETH, “MEGADETH”, ALBUM REVIEW

Megadeth’s “Final Album” Sounds Like a New Beginning

Photo: Megadeth official homepage

I never expected to hear the word “retirement” from Dave Mustaine.

As a highly conscious artist, I thought he wouldn’t follow the current “trend” of farewell albums and tours. Dave Mustaine — the brain, main songwriter, and producer of Megadeth — has been one of the most productive heavy metal artists of all time since forming the band in 1983, after Metallica. No matter how music trends changed, Dave Mustaine has always been Dave Mustaine, and Megadeth has always been Megadeth: heavy, solid, 100% original, no gimmicks, and held to a high standard.

Nothing is forever. Any edgy, wild charisma can grow old. Dave Mustaine, once known as one of the most notorious and wild musicians of the ’80s, is 64 now. But still 64. The members of Metallica are only about two years younger; the recently retired Aerosmith members are over 75. However, knowing your limitations is always important. It was the best—yet difficult—decision to end more than 40 years of history rather than risk making boring albums in the future.

Choosing a self-titled name for Megadeth’s 17th and final album apparently carries a clear message: the last, the best, everything Megadeth has done.

And Megadeth made the best album at last.

I like this self-titled album even better than my other favorite Megadeth albums, such as Rust in Peace and Countdown to Extinction, or the classic debut, Killing Is My Business… and Business Is Good!.

My first impression was that it sounded like Megadeth meets German metal — particularly more melodious and faster-pitched guitar work compared with their previous albums. In fact, Megadeth’s other guitarist, Teemu Mäntysaari, is not German but Finnish. Since 2015, Megadeth’s second guitarist has not been American. Alas, Megadeth is now almost universal: half American (Dave and bassist James LoMenzo, whom I never expected would fit so well with Megadeth. I’ve liked him since White Lion!) and half European (Teemu and drummer Dirk Verbeuren from Belgium).

So I would describe it as Megadeth moving slightly closer to European metal. The shift is clear from the opening track and first single, “Tipping Point.” Aggressive yet melodious, turbulent riffs elegantly fall round and around from a dark sky to the ground below before iconic thrash metal explodes. Then, during the break, a melodious guitar solo dances over true heavy metal. If some fans don’t like that first impression, they might have difficulty adjusting, because the new Megadeth is more melody-driven than riff-driven. It’s not the first time Medadeth had this type of song; the title track from Dystopia in 2015 is an example, but album-wide, this feels new.

However, being more melodious never means being softer. Melody enhances the core elements of heavy metal: heaviness, edge, boldness, and explosiveness. Strong melodies empower the foundation Megadeth has built, and this self-titled album proves it. It may not sound like “authentic” Megadeth compared with the thrash-oriented early records, but after listening to all 17 studio albums, it feels like a natural progression. This is still Megadeth, powered by Dave Mustaine, who knows exactly what he’s doing (and don’t forget: Dave is a fantastic guitarist with thrilling technique, perhaps one of the most underrated guitarists).

The album is full of songs that metal maniacs can naturally and comfortably headbang to, such as “Tipping Point,” “I Don’t Care,” “Let There Be Shred,” and “Made to Kill”, while also diving into blossoming melodies in “Another Bad Day,” “Obey the Call,” and “I Am War,” before hearts are pumped again by the final two tracks, “The Last Note” and “Ride the Lightning.” This metal is ageless. Not the kind of metal most 60-somethings can create. Dave Mustaine is phenomenal.

Another notable point of the Megadeth album is the perfect balance of all aspects: song quality, track order, production, sound, vocals, and instrumentals. In particular, the sequencing of the 11 tracks maintains the album’s momentum. From the new Megadeth anthem “Tipping Point” to the technically self-covered “Ride the Lightning” (mainly contributed by Dave Mustaine but originally recorded on Metallica’s first album without him), the mix of fast songs and slightly slower ones without a ballad feels like a 47-minute tornado filled with impressive guitar riffs. Megadeth’s song quality has always been reliable. Has Dave ever recorded a bad song? I don’t recall one.

And Dave’s vocals. It’s undeniable that his voice was once considered the weakest element in Megadeth’s early years. It could sound thin and flat compared with his bold attitude and aggressive guitars, even though it was instantly recognizable. No one expected a technically perfect metal vocalist like James LaBrie of Dream Theater in Megadeth, and it’s pointless to compare Dave’s vocals with James Hetfield’s, as they pursue different styles. Still, in earlier years, his voice didn’t always match the band’s instrumental strength. As he aged, his voice grew lower and thicker, blending better with the music. On this self-titled album, his voice finally feels fully aligned with the band. It’s huskier than on the 2022 album The Sick, The Dying… And The Dead!, while still maintaining the necessary aggression. He’s not only spitting fire on speed metal tracks like “Tipping Point” and “Made to Kill,” but also delivering expressive performances on darker songs such as “Another Bad Day” and “I Am War.” Because of that growth, I can sink deeper and deeper into “The Last Note,” the climax and most meaningful song of Megadeth’s final chapter.

This album also serves as the introduction of new guitarist Teemu Mäntysaari to a global audience. Considering that his most notable career work has been with the Finnish symphonic metal band Wintersun — of which he remains a member — this is his major worldwide debut within mainstream heavy metal. As mentioned, Teemu brings a distinctly European guitar voice from the start. More symphonic, dramatic, theatrical compared with the bold, edgy American guitar tradition. Different picking styles, speed, and tonal weight. The easiest comparison is, of course, “Ride the Lightning.” The Metallica version didn’t have those European elements in its iconic solo, while Megadeth’s version unleashes a Euro-metal intensity throughout the second half. Metallica’s approach feels more classical, while Teemu’s solo may sound more machine-gun-like — almost excessive in speed. When I first heard Teemu’s playing, the guitarists who came to mind were Kai Hansen (Gamma Ray, formerly Helloween) and Marcus Siepen (Blind Guardian). I even thought of Yngwie Malmsteen. His European flavor creates a unique harmony with Dave’s American style and expands Megadeth’s horizon on this final album — though whether his guitar style can be called genuinely original remains open to question. I personally love this new guitar chemistry, since I enjoy European metal as well. But in a country where European metal (and many other genres) isn’t always fully embraced, Megadeth’s updated sound may confuse or divide longtime fans.

Megadeth’s final album sounds like a new beginning.

And I mean that positively. Megadeth, especially Dave Mustaine, has remained at their best until the very end. That is professionalism. Many musicians slow down or lose creativity as they age. Wild, tough young musicians are human beings too. Staying sharp into your 60s is extremely difficult. Yet Megadeth achieved it, blending established identity with new elements. That may be why the self-titled choice carries a deeper meaning than simply “the best of Megadeth.” I believe they will not return after retirement. Dave Mustaine is not the kind of man who follows a cheesy commercial comeback trend. So what does it mean? Perhaps new wonders continue in another form.

Lastly, “Ride the Lightning.” I don’t think it’s just a bonus track, even if it’s credited that way. The album feels complete because that song is placed at the end. Not at the opening, not in the middle, but at the end of their last album. Is it pure entertainment? Dave’s retrospective? A reconciliation with the past? Or an unforgiven envy?

OVERALL SCORE: 97/100

• Songs: ★★★★★
• Originality: ★★★★★
• Thrills: ★★★★★
• Track Order: ★★★★★
• Vocals: ★★★★
• Arrangement: ★★★★+3/4
• Sound: ★★★★★
• Production: ★★★★★
• Standout Tracks: “Tipping Point”, “Let There Be Shred”, “Made to Kill”, “The Last Note”, “Ride the Lightning”

EXTRA (NOT COUNTED TOWARD THE OVERALL SCORE)

• Title: A
• Album Cover: B

RELEASE DATE (US): 01/23/2026

MEGADETH, “MEGADETH”

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