Tradecraft/Universal

Following Dave Mustaine's dubious and somewhat suspect early retirement, Megadeth came back with a pretty solid string of albums in The System Has Failed, United Abominations and Endgame. Then a horrible thing happened: Dave made up with immortal enemy Lars Ulrich. Can you believe it? After quitting drugs, it was his irrational animosity with the mediocre Danish drummer (from that other band whose name escapes me) that fueled his songwriting ire. I never got around to reviewing Thirteen (on account of my 2 years without writing one of these things), but the nicest thing I can say about that one is that it's not Megadeth's worst album (by virtue of there still being copies of Risk that haven't been rightfully tossed into an active volcano). It was one part compilation of unreleased songs that no one cared about and the other part brand new songs that no one cared about either, thus Thirteen was quickly forgotten about. And now we have Super Collider... but Dave and Lars are still buddies, so this can't end well.

Before we continue, imagine for a second a universe where the first four Megadeth albums don't exist. No Peace Sells nor a Rust In Peace and Countdown To Extinction is their debut album. In this universe, Megadeth playing fast-paced songs would be considered an uncharacteristic departure. And even in this universe, Super Collider would still be met with an indifferent reaction. There is no fire in this album. I can get the absence of any angst, but this is just phoned in across the board. Dave probably gets more excitement in discussing floral china patterns with his new buddy Lars Ulrich than he does writing new material. His backing band, consisting of Dave Ellefson, Chris Broderick and Shawn Drover, only sound like they're there to collect a paycheck. Broderick, who by all rights is probably a better guitar player than Mustaine, must be bored to tears playing this monotone material.

I first came to hear of Weapon sometime in 2009 through the association of a member of two supremely masterful Canadian bands, Axis of Advance and Revenge. Vermin, as he is known, played bass for Weapon. As I learned later, it was only on an EP that I never heard. But this was all I needed to develop an interest. Over time I forgot why I had any interest in the band. Months later, when I found Drakonian Paradigm in the store I remembered being fascinated by the band, but couldn't recall why. I looked them up on my phone and found nothing informative but their logo. A primitive assortment of dangerous tools crudely built by ancient men with the need to kill spelled out WEAPON and lit torches in my chest. The logo was enough to sell me. 

The crudeness of these hateful weapons-as-letters was at odds with the sounds that first came from the speakers, an almost beautiful acoustic passageway that hinted at magic and mysticism. But no, this was a passageway into far fiercer territory. That fierce territory, once we arrived, was clearly the stuff of raw savagery. If riffs could cause a holocaust, these would do it. My, the fury with which they strike at the mind! Oh dear, the crazed razors they cut like! Melodies that simultaneously wrapped all ears in metaphysical straight jackets and transported one to freer lands where daggers grew on trees were weaving their way through the guts of man. Though familiar in many ways, I hadn't heard anything quite like it.