Endgame

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共14首歌曲

艺人: Megadeth
语种: 英语
厂牌: Roadrunner Records
发行时间: 2009年09月09日
专辑类别: 录音室专辑

专辑介绍

Endgame is the twelfth studio album by the American heavy metal band Megadeth. It was released via Roadrunner Records (the second of three Megadeth records) on September 9, 2009 and was produced by Dave Mustaine and Andy Sneap. Endgame was the first album featuring guitarist Chris Broderick, following Glen Drover's departure in 2008, and was the band's last studio album with bass guitarist James LoMenzo; original bassist Dave Ellefson would rejoin the band only several months after the album's release.

There are eleven tracks on the album, with lyrics inspired by subjects ranging from The Lord of the Rings and the Financial crisis of 2007–2010, to insanity, torture and crime. Two singles were released from the album: &The Right to Go Insane& and &Head Crusher&, the latter of which had been nominated for &Best Metal Performance& at the 52nd annual Grammy Awards. Endgame entered the Billboard 200 at number 9 (marking the band's tenth overall top 10 debut) and reached number 1 on the U.S. Top Hard Rock Albums chart, and as of April 2011 has sold around 150,000 copies in the U.S. The album received generally positive reviews from music critics, and was thought of as continuing the success from the band's previous album, United Abominations. (wiki)

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by Eduardo Rivadavia

The release of 2009's Endgame brings with it a startling realization: if first-generation thrash metal fans had been polled about which of the genre's &Big Four& -- Metallica, Slayer, Anthrax, and Megadeth -- would prove to be the most resilient and consistently prolific over the next quarter century, the only sure-fire consensus would probably have been &well, anyone but Megadeth!& And yet, 12 studio albums and 150-plus songs later -- more than any of the other three have managed -- that's exactly what's come to pass. It hasn't been easy, and it's rarely been pretty along the way, but despite a few weak efforts, mostly self-inflicted controversy, and no end to verbal diarrhea, none of those other platinum-busting thrash titans have been as productive as Dave Mustaine's bunch -- all of which stands as a testament to the man's stubborn drive to prolong Megadeth's career against all odds, including drug abuse, his unfulfilled vengeance against Metallica, and even a religious reawakening! Of course, one shouldn't overlook the fact that Megadeth have always been a band in name only, thus allowing their leader to cope with voices of dissent by simply showing them the door. The &group& was also broken up for a short spell in the early 2000s while Mustaine recovered from nerve damage to his hands, after which he struggled with inspiration, creative direction, and a never-ending parade of henchmen before finally recovering much of that old Megadeth &mojo& (sonically, lyrically, and even where the cover art was concerned) on 2007's effective return to form, United Abominations. Best of all, this momentum carries on into Mustaine and company's second release for Roadrunner, Endgame, whose title apparently refers to &coming full circle& rather than any sort of goodbye, and finds the latest iteration of Megadeth -- debuting new guitarist Chris Broderick(ex-Nevermore, Jag Panzer) -- working primarily within their technical thrash comfort zone (think Peace Sells through Rust in Peace), with only a few latter-day elements and rare experimental diversions.

As such, deceptively simple guitar-shredding master classes like &This Day We Fight!,& &1,320& (surprisingly, written about &funny car& racing), and first single &Headcrusher& are cut from the same bloody cloth as &Wake Up Dead& and &Set the World Afire,& while politicized rants such as &44 Minutes,& &Bite the Hand That Feeds,& and the title cut recall old stalwarts like &Peace Sells& and &Holy Wars.& And for those who enjoyed Megadeth's early-'90s shift away from incessant thrashing toward the more &civilized& (but pre-sellout) Countdown to Extinction and Youthanasia albums, there are more methodical and melodically sweetened cuts like &Bodies Left Behind,& &How the Story Ends,& and &The Right to Go Insane.& Indeed, the only song here that breaks entirely from vintage Megadeth templates is the elaborately named &The Hardest Part of Letting Go...Sealed with a Kiss,& which surely owes its orchestrated string backdrops to the European metal perspective afforded by producer Andy Sneap, and tells a &love story& about entombing one's beloved behind a brick wall à la Edgar Allan Poe's The Cask of Amontillado. This one anomaly notwithstanding, however, Endgame is arguably the least commercially concerned Megadeth album since Rust in Peace some 20 years earlier, and by touching on so many of the favored songwriting styles of those early years, it should not only give their typically opinionated fan base very little to kvetch and moan about, but also throw new fuel upon the flames of Megadeth's unlikely longevity.

Endgame

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