A ton of pen ink would not be enough to describe what Dave Mustaine means to the world of music, and to the world of metal specifically. Indeed, it is not every day that one writes a column about Megadeth’s latest album and the imminent end of the band’s activities when the world tour related to it concludes. For over four decades, they composed iconic, fast, melodic, and aggressive riffs that made Mustaine and Megadeth an unavoidable name. Firstly, in Metallica, through the raw riffs that extend throughout the album Kill ’Em All, we were able to get a sense of Mustaine’s playing style. However, what we did not know was that, after being expelled from what can be considered, from a media point of view, the biggest Heavy Metal band, he would manage to have the strength and agility to create a name that rivaled it and that, in reality, developed its own path in the world of music, deservedly conquering its space.
That is exactly what Mustaine did. He created Megadeth and, through that, endowed the Thrash Metal and Heavy Metal genres with undeniable quality and a style of their own that inspired many who followed and continue to spread the genre to the four corners of the world. It is in this context, and bearing this in mind, that we approach the release of the new and final album, whose name is none other than “Megadeth”, released on January 23 of this year, 2026. Prior to this date, the band released four tracks that previewed some of the sound that fans could expect from the album itself.
Back in October, Megadeth returned with everything they had and, four years after their last studio album, “The Sick, The Dying… And The Dead!”, they released the first single from this upcoming album, the powerful “Tipping Point”. This track symbolizes a clear return to the roots of Thrash Metal that Megadeth has always accustomed us to, that is, fast riffs, incisive and creative solos, and, of course, a powerful and energetic drum beat. The initial general reaction was quite positive overall. There is no way not to appreciate the riff of this song from beginning to end, it is a clear calling card for old school fans.
Subsequently, the Americans released another single from the opposite end of the spectrum from the first. The track “I Don’t Care”, released in November, gives us a different image from what we are used to from Megadeth, combining a very punk and rebellious vibe with clear crossover influences. This innovation had a mixed impact on the fanbase where, on the one hand, some loved the punk groove and the more direct energy, accompanied by a defiant chorus. On the other hand, as is normal when we talk about music, there were those, myself included, who turned up their noses the first time they heard the song, mainly because they were not used to this sound. Over time, however, it evolved and became a pleasant experience. Still, this exemplifies the versatility of Mustaine and company, and it is worth highlighting that it reached number one in some countries and on various platforms, and that can never be a negative thing.
For those who had high expectations after the first single but were somewhat discouraged by the second, Megadeth quickly returned in force and lifted the spirits of even the most pessimistic. At the end of December, the track “Let There Be Shred” was released, characterized by its rude, raw, and fast attitude, with an opening riff that automatically lets any listener know that it is Mustaine’s fingerpicking. Classic in spirit, with a more modernized production than “Tipping Point”, it is, however, well achieved and faithful to the identity we expect to hear from Megadeth, that is, its rawness and sophisticated, technical aggression, along with the peculiar vocals of our beloved Dave. Finally, when we thought that the rest of the album would only be revealed in cinemas around the world, in more than 1,000 theaters, on January 22, one day before its official release, through an initiative called “Behind The Mask”, where Megadeth presents the album’s creation process and analyzes it track by track, three days earlier, on January 19, they decided to release another single from their latest discography. Titled “Puppet Parade”, it departs from the band’s classic supersonic and technical rhythm. However, it stands out as a song very faithful to what Megadeth is all about, played at half tempo and with a choral, melodic chorus, bringing to mind similarities with “She Wolf” or “Trust”, which reveal a slower and more commercial side of the band and which has always worked.
Well, the day has arrived to go to the cinema and watch the premiere of the album in its entirety in documentary format, where Mustaine summarizes his career, going through each album and enlightening fans about its peculiarities. I welcome this initiative, and it was a privilege to be able to see something by Megadeth where they deserve to be, that is, in a large cinema and on a giant screen. When the speakers began to echo the first riffs, goosebumps started to appear, and each of the fans present began to realize that those notes would be the last we would witness directly from Mustaine’s amplifiers.
Firstly, it is important to mention that the album is much shorter than the previous two, which, despite being faster and heavier from beginning to end, prove to be more tedious. In turn, this final album, at 47 minutes long, is a perfect summary of Megadeth’s career. From the explosive Thrash with supersonic rhythms and choruses already present in the singles, this album also presents its more Heavy side that marked the band’s discography in the final stretch of the 90s. This is evident in songs played at half tempo and with a more drawn out chorus, like “Another Bad Day” or “I Am War”, highlighting a more commercial aspect, even within the classic register of Mustaine’s heavy riff.
In the second half, “Made to Kill” is another of the album’s highlights, fast paced, with an incisive chorus and a rhythm guitar driven by a very heavy riff from beginning to end. Meanwhile, in the song “Obey the Call”, its ex libris is in the last minute, when the music drastically changes its tempo and transforms into something completely destructive with an endless solo, perhaps one of the best melodies on the album, in my opinion.
The tenth song, “The Last Note”… well, I think the title speaks for itself. This is nothing more and nothing less than Mustaine’s farewell letter, the moment in which he pays homage to his fans, thanks them, and brings to a close this rollercoaster that was Megadeth’s career. If there were any doubts that this was the end, the verses leave no room for mistake. “The roar I lived for, it starts to die, and now it’s time for me to say the long goodbye… Just fading lights and names, if I ever play again, then let this last note never die.”
However, a cycle only ends when it returns to its beginning, and that is exactly what Dave Mustaine did by placing a bonus track at the end of the album. Not just any track, but a historical landmark in the world of Metal, “Ride the Lightning”. Declaring that this is a tribute to his beginnings in Metallica and to his two bandmates, James and Lars, who composed this anthem with him, Mustaine treats us to a worthy version, true to his identity, and which gloriously reminds us of his early days and why we are here 43 years later enjoying his music. Could there have been a better ending? I do not know. In this case, I cannot recall any.
Thank you, Mr. Dave!