Megadeth ‎– Countdown To Extinction

By releasing the ridiculously good Rust in Peace in 1990, Megadeth had achieved the pinnacle of songwriting that the thrash subgenre allowed for. With it, the band proved capable of interweaving stellar instrumental work within complex arrangements, resulting in a sophisticated product that was nonetheless very catchy and memorable. At that point in time, metal was on the verge of breaking into the mainstream, with Metallica releasing their famed self-titled album in 1991. And rivalry-fueled Dave Mustaine, ever-eager to outdo his competitors, decided that the only logical path for his band to take was to also expand their sound into a more accessible format. The result was Countdown to Extinction.

Countdown to Extinction had its eyes on the grand prize of radio airplay and fame. As a result, the band has sacrificed most of the complexity that had accompanied Rust in Peace in favor of a more streamlined and polished sound. The songs are primarily straightforward four-minute rockers, sporting an emphasis on catchy guitar hooks, vocal lines and choruses. Despite this sharp turn in style and simplification of sound, however, the album's attitude still screams "Megadeth!". Mustaine's snarl hasn't lost its edge, and neither have the instrumental capabilities of Ellefson, Friedman and Menza who don't waste the opportunity to show off their prowess every now and then. The solo in Symphony of Destruction is still among the finest the band ever put out, whereas the tasteful opening bassline to the title track and the drum solo in closer Ashes in Your Mouth are successful as well. Even ridiculous-yet-cool design decisions such as the "Hello me, meet the real me!" monologue in Sweating Bullets don't take away from the fun factor that this release possesses. In addition, a high degree of consistency is achieved throughout the record's eleven songs, which successfully prevent this from being a singles album.

The band hasn't entirely lost touch with its past self, as there are a few moments which remind us of older Megadeth. Architecture of Aggression and Ashes in Your Mouth are heavier, more complex and more aggressive than the rest of the songs, even sporting some off-time 2/4 and 7/8 riffs here and there. Captive Honour, on the other hand, features a pretty complicated riff that almost sounds like a lead. If there are songs I'd criticise, one would be Foreclosure Of A Dream, which simply doesn't manage to be interesting. Also, High Speed Dirt, despite being decidedly catchy and upbeat, is about the quite dull and un-metal subject of skydiving.

Overall, Countdown's crowning achievement is that it successfully breaks into radio-play territory without sacrificing the integral ingredients that make the music Megadeth and not some other band. Do listen.