My dick is so hard after listening to this demo.

Heavy, heavy, heavy. That’s one “heavy” for each song on Mourn Makes Movement’s three song demo. But what does “heavy” mean anymore? Here, it means devestating bass, non-compromising riffs, dual and dueling guitar work, and an unrelenting verbal attack … basically presenting the listener with a constantly changing musical assault, like a boxer coming at you from ten different angles at once — although judging by the sound of this disc, these guys are more likely to creep up on you from behind …

Hailing from the Northeast, Mourn Makes Movement rose out of the ashes of 8 Trak Mind. All three members of 8 Trak Mind plus two new recruits make up MMM, and in reality, that’s not a bad way to describe this band. Where 8 Trak Mind was heavy, these guys are heavier. Everything is more — the guitar work is thicker, the drumming is more complex, the vocals are better … the guys have improved their overall sound in every category.

It’s hard to drop quick descriptions of each song, as the riffs and movements change so quickly. “Failed Goal” starts calmly but builds quickly to an aggressive Chimaira/Killswitch Engage type attack. “Hypocrite”, the middle track of the disc, has such mood swings and changes all I kept thinking was, “this is what Neurosis would sound like if they wrote 3 minute songs”. From singing to slamming to brutal drumming, this track thrashes you in its jaws and leaves you for dead. “Counting Tears” lulls you into a false sense of security shortly before kicking you in the nuts with a death metal-esque barrage. After a quick decline, the track slowly rebuilds, teasing you with stability and then repeatedly poking you in the eye. My wife made the comment that MMM sounds like a “radio friendly Meshuggah” … it’s an extreme comparison, but not entirely unfounded.

Mourn Makes Movement’s promo pack consists of blacks, whites and grays (as is the majority of their website), which is somehow befitting of the band and its message on life and death. In an industry where commercials, videos, managers and awards often speak for musicians, these guys are letting the music speak for itself.

It speak loudly it does. I can’t wait for a full length from these guys.

01. Failed Goal
02. Hypocrite
03. Counting Tears

A little Motorhead, a little punk, a little 80’s, and a whole lot of rock and roll. That describes Greetings from the Bonneville Salt Flats from Motochrist, although they prefer the description “Ramones meets Black Sabbath.” Call it what you want, it’s poppy, it’s dirty, and it’s sure as hell catchy.

By “Someday”, the second track on the disc, I guarantee you will be tapping your foot and singing along. Motochrist is a little bit L.A. and a whole lot Hollywood. Yeah, it’s been done before — so what? Don’t wade into this album expecting the guys to create a new genre — or even make a significant dent in the one they’re in. Anyone who has ever bought a Hanoi Rocks album (especially if you bought it on cassette) or anything from Junkyard will feel right at home here.

Instead of whining about how they were abused as children and whatever else every nu-metal is crying about these days, Motochrist keeps it simple. “All I want’s my girl and a real fast car,” goes the chorus of “Real Fast Car.” In fact, most of the tracks on Greetings from the Bonneville Salt Flats revolve around cars, chicks, or beer. My kind of band. Lots of leather, lots of rock, and lots of guitar solos.

Throughout much of the album, Motochrist comes off a little more like Poison than Skid Row — a little more Theater of Pain than Shout at the Devil. Still, the disc is enjoyable from beginning to end. Greetings from the Bonneville Salt Flats is a genuinely fun rock and roll record that you can actually sing (or drive fast) to.

Tracks
01. Hang ‘Em High
02. Someday
03. Holiday
04. Real Fast Car
05. El Diablo
06. Nuthin’ Right
07. 6 Shooters
08. Strings And 6 Packs
09. Something To Do
10. Out Of Control
11. I Lost It
12. Super Sonic Speed Machine
13. Three Sheets To The Wind

It’s hard to believe it’s been two decades since Motley Crue released Dr. Feelgood (1989). For the band’s four original members, the past twenty years have been just as volitile as their hard hitting music. While the band was on top of the world, vocalist Vince Neil quit and was replaced by John Corabi. Corabi’s departure/Neil’s re-arrival a few years later was marked by drummer Tommy Lee’s departure. Lee was replaced first by ex-Ozzy Osbourne drummer Randy Castillo, and later ex-Hole drummer Samantha Maloney, who had an affair with Nikki Sixx. After multiple rounds of name calling and everybody-suing-everybody (including each other), Motley Crue dissolved and the band members went their own ways. Vince Neil continued his solo career, Nikki Sixx founded bands 58, Brides of Destruction and Sixx: AM, Tommy Lee founded Methods of Mayhem, married Pamela Anderson and appeared in his own reality television program, and guitarist Mick Mars disappeared from the public eye.

When I heard that Motley Crue was set to release a new album, their first with the band’s original lineup in over a decade, I was both excited and nervous. Would we get a nu-metal version of the Crue along the lines of Shout at the Devil ’97? Would the group be able to put their differences behind them and actually kick out some rock?

Yes. Yes, yes, yes!

Saints of Los Angeles, Motley Crue’s ninth studio album, finds the wild foursome back in top form. Loosely based on the band’s 2001 autobiography “The Dirt”, SoLA includes twelve songs based on topics any old school Crueheads should find familiar: sex, drugs, and rock and roll.

Nikki Sixx (historically the band’s primary songwriter) shares writing credits on SoLA with every member of his other band, Sixx: A.M. All thirteen tracks were written by Nikki Sixx, DJ Ashaba (guitarist, Sixx: A.M.), Marti Frederiksen (producer, Sixx: A.M.) and James Michael (vocals, Sixx: A.M.). Mick Mars contributed to seven of the album’s tracks, and Tommy Lee contributed to one. Any fears that SoLA sounds like anything but a Motley Crue album went right out the window with the first Mick Mars’ signature guitar sound.

The songs on SoLA all sound like Classic Crue (a’la Girls, Girls, Girls) but cleaner, tighter and thicker. In fact, it’s hard to remember a time when the band sounded better. Through a pair of headphones the layers of guitars sound amazing. Sixx and Lee deliver the same solid back end they’ve been hammering out for years, and Vince Neil sounds better than he has in ages — whether that’s due to the song writing team or simply studio production, who’s to say.

The album’s first two singles (“Saints of Los Angeles” and “Mutherfucker of the Year”) sum up the band’s current sound, style, and attitude. Those who have read The Dirt (or have ever listened to Motley Crue) won’t be surprised at the album’s lyrical content. One of the band’s favorite topics (girls) gets plenty of attention on “Chicks = Trouble”, “The Animal in Me” and “This Ain’t a Love Song”. There’s plenty of old memories wrapped up in “Down at the Whiskey” and “White Trash Circus”, and in true Motley fashion, the album ends with the band literally “Goin’ Out Swinging”. Despite the fact that half of Motley Crue is over 50, I get the feeling they could probably still kick your ass, or go down trying.

Saints of Los Angeles is Motley Crue’s best work since Dr. Feelgood and definitely holds its own alongside the band’s classic 80s albums. Motley Crue is back, big time.

01. L.A.M.F
02. Face Down In The Dirt
03. Whats It Gonna Take
04. Down At The Whiskey
05. Saints of Los Angeles
06. Mutherfucker Of The Year
07. The Animal In Me
08. Welcome To The Machine
09. Just Another Psycho
10. Chicks = Trouble
11. This Aint A Love Song
12. White Trash Circus
13. Goin Out Swingin’

On the Web: Motley.com

After twenty-five years of cranking out electronic, industrial, and full on metal, Ministry’s Al Jourgensen is ready to hang up his hat. The Last Sucker, Ministry’s final opus, also concludes the band’s anti-George Bush trilogy.

Ministry’s sound has changed greatly throughout the years, and their last three albums have been three of their heaviest. Ministry’s 2004 album Houses of the Mole’ launched an all out attack against George W. Bush and his administration. 2006’s Rio Grande Blood continued the band’s direction both sonically and verbally, continuing the band’s attack on the US government, military, oil, and Haliburton. The Last Supper once again continues the battle, spewing one final collective venemous assault toward President Bush.

Those who own the band’s previous two albums won’t find much new lyrical ground covered here. Jourgensen makes his opinion of the war in Iraq, the government, and the military in general very clear throughout most of the album. Both Dick Cheney and George Bush have songs dedicated to them (“The Dick Song” and “The Last Sucker,” respectively). For the first time in Ministry’s anti-war trilogy, the band has included a cover tune. The Doors’ Roadhouse Blues seems out of place until you hear the first verse (“Ill tell you this man, all I wanna do is have my kicks before this whole shit house goes up in flames.”) The culmination of the band’s trilogy ends with two tracks, End of Days Part One and Two. “It is the end of days/We’ve clearly lost our way,” laments Jourgensen in Part One. In Part Two, he continues: “I disregard those who govern me/I hate all of this treachery/I numb my mind and try to walk away/Toward the trail of tears and to the end of days.”

Sonically the band has continued its direction as well. Both Tommy Victor and Paul Raven of Prong have returned to unleash a fury of metal over Jourgensen’s industrially-programmed drum tracks. Also joining the festivities this time are Sin Quirin (Revolting Cocks) on guitar, John Bechdel (Fear Factory/Prong/Killing Joke) on keyboards, and Jimmy DeGrasso (Suicidal Tendencies/Alice Cooper/Megadeth) on drums. Burton C. Bell (Fear Factory) also makes a guest appearance on three tracks. Ministry’s last two albums have been two of the heaviest of their career, and The Last Sucker continues their combination of metal riffs with aggressive drumming.

The Last Sucker is consistant with the band’s previous two albums; unfortunately, that also means there’s not much new here. Ministry’s swan song will most likely be remembered as a good album, but not the band’s definitive work.

From the same mold as 2005s Houses of the Mole comes Ministrys 2006 release, Rio Grande Blood. Al Jourgensens attack against George W. Bush and the current administration begins on the albums cover, which features Bush crucified, wearing a crown of thorns and standing in an oil barrel with stealth bombers and oil pumps in the background. The disc, which features tracks such as Fear (Is Big Business), The Great Satan, Lieslieslies and Ass Clown, is an hour-long non-stop industrial assault on the United States Government. Oh, and yeah it rocks. Hard.

Rio Grande Blood kicks off with the discs title track, opening with a slyly-edited presidential speech which has Bush declaring Im a brutal dictator, and Im evil, Ive adopted sophisticated terrorist tactics and even Im an asshole. The albums theme is united. Lieslieslies begins with a sample stating we have called you together to inform you that we are going to overthrow the United States government. Do you still think that jet fuel brought down the World Trade Center? In the rock-and-roll anthem The Great Satan, Jourgensen shouts bringing down the USA is what its all about. And on the discs last official track, Khyber Pass, the band wonders if Bin Laden isnt hiding out at Bushs Ranch.

But Jourgensens hate of the White House isnt the only thing back. Ministrys intensity is back as well. While Houses of the Mole was good, Rio Grande Blood is great. Those who claimed the bands best days were behind them with the departure of Paul Barker may have to rethink their stance as Grande is, in fact, quite grand. Jourgensens drum lines are as brutal as theyve been in a decade, harkening back not only to the Psalm 69 days, reminding me of Nailbomb at points. Tommy Victor (Guitar, Danzig/Prong) and Paul Raven (Bass, Killing Joke/Prong) bring the human element into Jourgensens synthetic backbone. Victors fretwork is particularly vicious, mixing Prongish hooks with Slayeresque-inspired riffs. Joey Jordison (Drums, Slipknot) will be joining the band live for their 2006 MasterBaTour. Theyll definitely need his kick drum skills to pull off any of these songs live.

Most of the songs are great but not all of them. Khyber Pass drags on with introductory Eastern Indian vocals that take too long to ramp up, and the somewhat silly Marine tribute Gangreen gets old after repeated listenings with its military ahoorah grunts and taunts from a marine seargant whos gonna stick his dick in your nose, among other things its a shame, as musically the track grooves.

Ministrys wall of sound never sounded thicker, and the limits of your speakers will be pushed by the albums hot mix. Rio Grande Blood throws out tons of low end matched by crashing cymbals and industrial noise guaranteed to give your system a workout. Jourgensens vocals are as distorted as ever, filling out the mix with static screams.

Musically, Rio Grande Blood is Ministrys finest work in a decade, maybe longer. Jourgensen has continually tweaked his bands sound, and for fans of Industrial Metal Rio Grande Blood is damn near sonically perfect. Lyrically, Ministrys campaign against the establishment continues. Assuming the band manages to win more fans than they alienate with their strong opinions, Rio Grande Blood may stand as one of the bands greatest works to date.

01. Rio Grande Blood
02. Senor Peligro
03. Gangreen
04. Fear (Is Big Business)
05. Lies Lies Lies
06. The Great Satan
07. Yellow Cake
08. Palestina
09. Ass Clown
10. Khyber Pass

Over the past year or so, Ministry’s main man Al Jourgensen has lost two of his long time partners — Paul Barker, and heroin. Fortunately for us, Ministry still sounds like Ministry; in fact, it’s been a long time since the band has sounded this focused. Sorry Paul.

2004’s Houses Of The Mole’ finds Ministry in fine form. With Barker out of the picture, Ministry’s songs have swung back towards being more guitar-based, a sound fans have been clamoring for since 1992’s Psalm 69. It’s been a long time since we’ve heard Ministry songs this lean and mean.

Unlike recent Ministry albums, everything here is pretty up-tempo and consists of guitar riffs over real (or at least realistic sounding, for the most part) drum tracks. Those who tire of Jourgensen’s experimental tangents will be glad to learn that Houses is a fairly straight forward album. That’s not to say that the music’s simple, but at least everything here can be classified as songs (save for one of the “hidden” tracks).

George W. Bush appears to have more fans in Iraq than he has in the music industry. Track one (“No W”) sets the tone for Ministry’s attack against Bush’s administration. In true fashion, the songs (which all start with the letter W) are filled with samples from Bush’s speeches. “No W” seems to me at least to be a successor to “N.W.O.” from Psalm 69 (which, ironically, was about Bush’s daddy).

On Houses Of The Mole’, Ministry appears more metal than ever before. The verse riff on “No W” alone rivals anything Metallica’s done in at least a decade, maybe two. “Waiting” is reminiscent of Psalm 69’s “Jesus Built my Hotrod”, but more streamlined. WTV is overloaded with television samples (Nailbomb did it better on “24 Hours of Bullshit”). “Warp City” reaches break neck speeds and harkens back to the band’s older days.

Paul Barker or not, Ministry’s back. Stripped down and with a new enemy in his sites, Ministry’s Al Jourgensen is more focused than ever.

01. No W
02. Waiting
03. Worthless
04. Wrong
05. Warp City
06. WTV
07. World
08. WKYJ
09. Worm
10. Psalm 23
11. Walrus

While converting my enormous CD collection into MP3s, I ran across Mindstymes four-song demo release. I hadnt intended to review the disc, but a Google search of the bands name didnt turn up a single hit which is odd, considering the bands guitarist used to work in our IT department. Not wanting the band to completely disappear from the face of the earth, I now present you with (apparently the first) review of Mindstyme’s In the Scheme of Things.

With only four tracks, theres not much ground to cover here. All four songs fall under the 90s-style rock umbrella. Guitars have the low end almost entirely removed from the mix, allowing the funky bass to shine through. The drums are clear and strong. The vocals are somewhat lower in the mix than one would expect, and are light on both layering and effects. At their best, the band is reminiscent of Collective Soul, although more often than not, the band is reminiscent of every club band whose names and faces I cannot remember.

The demos highlight is Get Some, with its singable chorus and catchy riff something most of the other songs are missing. The discs last track, Silent Desperation, comes in second place with its interesting (but not particularly palatable) riff. All the songs contain reverb-heavy guitar solos, if thats your thing.

I had the opportunity to see Mindstyme live once, and they werent all that bad. The bands demo CD captures the band’s songs, but not their spirit. If nothing else, let this review stand as a tribute to that the spirit of every club band who at least took a chance.

01. The Other Foot
02. Get Some
03. Fool’s Game
04. Silent Desperation

Let me start here — MindGrinder’s debut album MindTech is freakin’ heavy. Mixing bits of death metal with black metal and techno-metal, MindGrinder have produced one wicked release.

Due to the mechanical drumming style and layers of keyboards, I imagine most reviewers will just write “it sounds like Fear Factory” and move on. But where Fear Factory is (or was) simply heavy metal built on top of robotic kick drum lines, MindGrinder is much closer to true death metal in that respect. Some tracks are more melodic than others, but every one provides plenty of sensory-overloads. I would recommend this to a fan of death metal much quicker than I would a kid in a Fear Factory shirt.

On “Human Error”, the band slows everything down a notch, turning down the tempo momentarily to let the heaviness sink in. “Deception” is more of an anthem-type song, with big, yellable one-word choruses. On “Surviving Gadzooks”, just when things begin to slow down a ferocious blast beat appears and tears the song wide open. All ten tracks contain discernable riffs and musical movements which show development. Kick drums stop, start, speed up, slow down, and do all kinds of crazy things. The guitars are split between one string riffing and power chord attacks. Plenty of bass holds up the bottom end and keeps it from sounding like black metal. MindGrinder isn’t the same old thing you’ve heard a million times before.

And that’s one of the best things about MindTech, actually. It doesn’t sound like anyone else. In an ever growing musical scene, it’s nice to hear something original once in a while. I truly liked this album. Fans of groovy death metal and relentless kick drum attacks will not be disappointed.

“Cannot kill the family, Battery is found in me.” – Metallica, “Battery”.

Every musician, from small time to big time, has their own heros. Every guy in every garage band has had someone inspire them enough to make them pick up an instrument and learn how to play. For me, and probably hundreds of thousands of musicians around the world, that inspiration was Metallica. Sure, now they’re short-haired, radio friendly, Napster sueing weenies, but back in the day, they rocked. Back in the day, they ruled. There was a time when James and the crew owned the scene. This CD is a celebration and tribute to times of past. A time when four hungry, angry, passionate youths had taken over the metal world, and wouldn’t release the reigns for many years to come.

I’ve heard several other Metallica tributes. For the most part, they’re compilations from no-name thrash/death/punk/industrial artists, trying to make a buck off of some Metallica fans. No so here. Classic bands and musicians, who either influenced or were influenced by the big M, are here covering 10 of Metallica’s hits. For those statistic freaks, 4 came from The Black Album, 3 from Master of Puppets, 2 from Kill ‘Em All, and 1 from Ride the Lightning. Zero from Load and Reload (take the hint, fellows).

Suicidal Tendencies. Anthrax. Kiss. Thin Lizzy. Slayer. Metal Church. Ugly Kid Joe. Life of Agony. King’s X. Living Colour. All of these bands and many more are represented on the album. One annoying thing is the liner notes don’t tell what bands the artists are associated with.

The music on the album is basically dead on. A few of the musical performers really shine through the songs. For example, Mike Clark and R. Trujillo (Suicidal Tendencies) really come out on the intro with a Suicidal type sound. The majority of the album stays true to the Metallica versions, however. In fact, most of the songs could easily pass for Metallica outtakes or alternate versions. One exception is on “The Thing that Should Not Be” – they changed the main riff! It’s just off one beat too, which makes it really annoying to listen to.

While the musicians on the album spent most of their energy trying to sound like Metallica, the vocalists seem to have spent extra time to make sure they didn’t imitate Hetfield, and kept their own traditional sound. In that respect, the album almost seems like Metallica karaoke — without the free beer. “Whiplash” could have been written for (or about) Billy Milano (MOD/SOD). Milano pairs up nicely with the frenzied Scott Ian (Anthrax/SOD) on guitar to make for one hell of a tight track. Chuck Billy (Testament) belts out a terrific version of “Seek and Destroy”, which comes off slightly heavier than the original. Burton C. Bell (Fear Factory), one of my favorite vocalists, butchers “Enter Sandman”, and you have to think his voice would better fit something off of Kill ‘Em All. Doug Pinnick (King’s X) does an interesting version of “The Unforgiven” (for the record, Doug isn’t anywhere near James’ range – and probably vice versa). Joey Belladonna (ex-Anthrax) does a surprisingly good job covering “Sad But True”, as does Whitflied Crane (ex-Ugly Kid Joe and ex-Life of Agony) performing “Sanitarium”. Of course, Crane is overshadowed by John Marshall (Metal Church) and Scott Ian’s dueling guitars on the track.

There have been several “industrial” Metallica tribues. There was a cello tribute album. There have been punk-influenced Metallica tributes. There is more than one death metal Metallica tribute. Now, finally, there is one from true Metallica fans, people who have shared the stage with them and are truely trying to pay tribute to a classic band they love and respect(ed).

That being said, I’m not in love with the album. The versions are close enough to remind me of the originals, and after I was done listening to this CD, that’s exactly what I did — I pulled out the original albums. Metallic Assault isn’t in my CD Changer out in the car, but Kill ‘Em All and Master of Puppets went back in this week. The disc is definately worth a listen (at domestic prices, not crazy import prices!), but I think it’s fair to say that while all the songs pay tribute to these 10 classic tunes, none of them surpass the originals.

Tracks:

01. Battery
Eric A.K. – Vocals
Mike Clark – Guitar
Robert Trujillo – Bass
Dave Lombardo – Drums

02. Sad But True
Joey Belladonna – Vocals
Bruce Kulick – Guitar
Marco Mendoza – Bass
Eric Singer – Drums

03. Sanitarium
Whitfield Crane – Vocals
John Marshall – Guitar
Scott Ian – Guitar
Tony Levin – Bass
Mickey Dee – Drums

04. The Unforgiven
Doug Pinnick – Vocals
Vernon Reid – Guitar
Tony Franklin – Bass
Frankie Banali – Drums

05. The Thing That Should Not Be
John Garcia – Vocals
Kurdt Vanderhoof – Guitar
Jeff Pilson – Bass
Jason Bonham – Drums

06. Enter Sandman
Burton C. Bell – Vocals
John Christ – Guitar
Robert Trujillo – Bass
Tommy Aldridge – Drums

07. Whiplash
Billy Milano – Vocals
Scott Ian – Guitar
Phil Soussan – Bass
Vinny Appice – Drums

08. Nothing Else Matters
Jon Oliva – Vocals
Bob Balch – Guitar
Lemmy Kilmister – Bass
Gregg Bissonette – Drums

09. Seek And Destroy
Chuck Billy – Vocals
Jake E Lee – Guitar
Jimmy Bain – Bass
Aynsley Dunbar – Drums

10. For Whom The Bell Tolls
Eric Bloom – Vocals
Al Pitrelli – Guitar
Tony Franklin – Bass
Aynsley Dunbar – Drums

Maybe Dave Mustaine is finally getting the last laugh. Almost 20 years ago, Lars, James, and Cliff surrounded Dave while he was sleeping, woke him up, kicked him out of Metallica and gave him bus fare home. All this time, Dave seems to have been trying to keep up with his former bandmates. When Metallica played fast, Megadeth played faster. When Metallica played tight, Megadeth played tighter. Just as Megadeth’s videos began getting some major airplay on MTV, Metallica’s “One” was released and took over the airwaves for months.

But slowly, the tides have turned. Metallica have slowed down, while Megadeth have maintained their pace. Metallica’s music has taken a nose dive towards the world of radio pop, while Megadeth have stood their ground, keeping their feet planted firmly in the world of thrash. And while what’s left of Metallica sits holed up in a studio with no bass player, arguing about notes and planning their next attack against Napster, Megadeth has dug into it’s roots and delivered their best work in years.

With the line “Let me introduce myself, I’m a social disease,” Mustaine kicks off the new album and lets us know that the Megadeth we used to know and love is still alive.

The production work on The World Needs a Hero is classic. The mix feels very stripped down, very straight and to the point. Not a lot of extra noise, just straight forward thrash. Megadeth have learned to pace themselves over the years. The songs aren’t the fastest you’ve ever heard them play, but they’re definitely not laid back. Double kicks and driving bass lines keep the backbone alive, while classic Megadeth riff’s emerge from every corner of the disc.

No where is this more evident than during “Return to Hangar,” a sequal of sorts to “Hangar 18” off of Rust in Peace. “Return to Hangar” shows the maturity of Megadeth, and demonstrates better than anywhere on the disc that faster isn’t necessarily better. The solos are just as intricate as ever, but the whole style seems laid back. The drums kick into a frantic “galloping” kick-style from time to time, but for the most part, the boys just seem comfortable where they’re at, doing what they’re doing.

Dave and co. have abandoned the complicated song frameworks from their past. “The World Needs a Hero” sounds leaner and more direct than previous albums. That doesn’t mean that the songs are “simple” per se, just that they don’t each have 5,000 tempo changes and 100 mph solos all over place. Personally, I think the simplicity works here, and the album comes off as sounding cohesive and linear instead of a jumbled mess like some of their previous works. Maturity is the word I’m looking for, but had hoped to never use in a Megadeth review.

Out of 11 tracks, two of them are wimpy ballads, and one (Capitol Punishment) is a medley of old hits remixed with some sound effects and filters, so what you’re left with is eight balls to the wall guitar driven tracks. While not all of them are full speed ahead, they are all undeniably Megadeth.

Many of the tracks have a DJ scratching over them, and much of the album contains rapping. Just kidding, this is Megadeth – any Headbanger’s Ball disciple worth their weight in Ricki Rachman’s hairspray should know what Megadeth sounds like by now. Old Megadeth fans will not be disappointed, and even nu metal fanatics might enjoy taking a glimpse at how we used to rock back in the day.

Tracks:
01. Disconnect
02. The World Needs A Hero
03. Moto Psycho
04. 1,000 Times Goodbye
05. Burning Bridges
06. Promises
07. Recipe For Hate…Warhorse
08. Losing My Senses
09. Dread And The Fugitive Mind
10. Silent Scorn
11. Return To Hangar
12. When