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World Painted Blood : SLAYER

 Now Slayer are fully functioning again-- and it's hard to believe that a 27-year-old band can be this intense. World Painted Blood races through 11 tracks in 40 almost fat-free minutes. Slayer haven't written a great slow song since "Seasons in the Abyss", but the few that are here break up the album nicely. The rest of the record is fast and finely controlled. Hooks peek through often, and the interplay between guitarists Kerry King and Jeff Hanneman is lively. Their trademark whinnying-horse solos are intact, and Lombardo still pushes the beat hard. "Unit 731" features some of his best drumming ever, with delightfully crackling fills. An extremely dry mix practically brings the listener into the room next to the band. This performance aspect is crucial to Slayer's success. Unlike, Metallica, whose drummer Lars Ulrich is inconsistent live, or Megadeth, who have settled into a monotonous precision, Slayer have retained their organic energy. They are one of the most electrifying musical units working today.

This upfront sound is double-edged, however. It's thrilling to hear the band in such close audio quarters. But as a result, it loses some mystique. The production quirks of past albums helped give Slayer an aura. Hell Awaits, for example, indeed sounded hellish due to an excess of reverb. The tedious sludge of Diabolus in Musica had a certain charm. Although Rick Rubin's production on Slayer's classic trilogy (Reign in Blood, South of Heaven, Seasons in the Abyss) was dry, the songs still had a smoke-rising-in-the-distance quality. Now the band is aurally inches away from one's face. Additionally, the band has turned its attention from the underworld to the real world. "Americon", for example, condemns the U.S.' blood-for-oil foreign policy. Slayer being timely is not Slayer being timeless. But the way they're still playing, they sure sound like it.

- Pitchfork

MEGADETH "ENDGAME"

It’s a given that Megadeth will never equal their great first five albums, but what’s so surprising about Endgame is just how close it comes. And again, it’s all due to Mustaine sticking to his strengths, and with the extraordinarily talented Broderick as his new wingman, the record positively scorches with an intensity we haven’t heard since Rust in Peace. With its furious back-and-forth solos, opening instrumental “Dialectic Chaos” wastes no time in showcasing that dynamic between Mustaine and Broderick, and combined with the pure speed of “This Day We Fight”, longtime fans will be instantly reminded of the bracing “Into the Lungs of Hell”/“Set the World Afire” one-two punch that kicks of 1988’s great So Far So Good…So What!. Although the lyrics leave a lot to be desired, lead single “Head Crusher” is nevertheless inspired, Drover propelling the fast choruses and then launching the song into a wicked groove that doesn’t feel far removed from ‘86’s “Wake Up Dead”. Similarly, “1,320’” is an old-school thrasher, with Mustaine’s trademark twisting riffs leading the way as Drover takes a more pummeling approach similar to Motörhead.

Lyrically speaking, we get the usual eclectic Mustaine fare, with subject matter that runs the gamut from bank heists (“44 Minutes”), funny car racing (“1,320’”), twisted love songs (“The Hardest Part of Letting Go…Sealed With a Kiss”), his usual “I’m slowly going nuts” shtick (“The Right to Go Insane”), and even the overdone Lord of the Rings saga (“How the Story Ends”). However, where Mustaine is always at his best is when he’s spitting venom towards his political and bureaucratic subjects: Wall Street takes one on the chin on “Bite the Hand” (“The erosion of the peoples’ trust / Of what will come to be an FDIC-assisted suicide”), while the title track gives former president George W. Bush a satirical parting shot.

With nary a throwaway track, not a moment is wasted on Endgame, with even such mid-paced breathers like “Bodies”, “How the Story Ends”, and “44 Minutes” holding their own quite well amidst the more ferocious fare. In addition, Andy Sneap bring the kind of crisp production he’s become known for, which is a perfect fit for the technicality of Mustaine’s compositions. Most importantly, though, this current incarnation of Megadeth (Megadeth Mk. 18 for those keeping score) has Mustaine sounding his most comfortable in ages, thanks in large part to his very strong supporting cast. We can only hope the foursome stays intact for a while, because after a horrible dry spell and years of clawing his way back, Megadeth could really be on to something special here.

-Popmatters