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Review Summary: Satriani delivers another typical Satriani album; nothing more and nothing less. Fans of him or of the intrumental rock genre will probably be carried away by his unstoppable momentum. Others maybe not.

 
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Megadeth Super collider


Megadeth are a band whose output truly has been hit and miss for several years now. Ever since the release of Cryptic Writings and the band's aversion of their thrash metal earlier years, many have loved to hate on certain albums in their discography. The thrash metal titans did quite a lot to silence their critics with United Abominations and Endgame in the past, before dipping in quality with Thirteen again. Super Collider is the fourteenth studio album from Megadeth and is a 2013 outing that essentially mixes elements of all of their past albums. The two singles so far released from this album are the title track and Kingmaker and they were poorly received, but how do they reflect the overall quality of the full product?

Well, at heart this is still very much an experimental Megadeth album, similar in vein to what they were doing throughout the 1990's. Kingmaker shows off more of a thrash element of the band's sound, although not the furiously paced insanity that shook people up worse than Michael J Fox in a blender. The title track and Off The Edge however bring forth more of a hard rock sound that feels as though it could have fit in among anything from Youthanasia to Risk, although it would certainly have detracted from the quality of any of those albums. The band even paid tribute to influential hard rock band Thin Lizzy with a more down-tuned version of their hit song Cold Sweat, which actually fits in well among the more rock-focused sound of Super Collider.

The guitar work here is business as usual for Megadeth, with some furious soloing and a variety of riffs. The guitar parts are still rather heavy and highlights would be Kingmaker and The Blackest Crow and the angry, thrashing Built For War. These three songs show that Megadeth can definitely still write guitar-driven music full of passion and rage. Sadly, if you are looking for an album that will consistently cause adrenaline to flood through your body and hate to course through your veins, this album is not one that will have these effects. Aside from those three songs, this is lifeless; devoid of any real emotion and Dave should be ashamed of how many 90's rock bands he sucked off with Super Collider and Dance In The Rain. These two tracks in particular have absolutely nothing good about them and should be avoided at all costs.

The other instruments add literally nothing to the mix. Megadeth have always been very much guitar-centered but not to the point that the other instruments blend into the background as they do here. The drums are stagnant, the bass stale and the production does not help their cause either. Given that this is the same Megadeth lineup that gave us Thirteen, we could at least expect every member to give their all. Unfortunately, the drummer shows on Burn just how little effort he wants to put into this album, with around 2 or 3 beats, all of which are lazy, uncomplicated and empty of any life that was there on their past album. Even during the fastest moments of this album, the drums are still flat and boring. The aforementioned production job ensures that the guitars and vocals are too loud in the mix so that the soundscape is completely dominated by boring power-chord guitar works and solos that ALWAYS seem to start on the absolute highest notes possible (that's Dave's creativity these days for you).

Super Collider is a disappointment if there ever was one, and is an album that should be avoided at all costs. This should carry a health warning. Are you a happy metalhead, thrasher, straight person or just have any degree of sanity at all? Then keep the *** away from this.
 
Black Sabbath 13

Nije baš da je juče izašlo, a nije ni neka muzika, ali stara slava je ipak slava

Black Sabbath’s birth is one remarkable event in heavy metal history. Their vision of doom, sludge and sometimes psychedelic created the soil on which many bands stand today. A few hits and several misses later, the juggernaut act led by Ozzy was shelved in the aftermath of “Forbidden”, their most disappointing material to date. Decades later, the announcement of their reunion received some mixed criticism. Ozzy Osbourne was seen as washed out, done and dusted, bound to release average upon average hard rock albums until his inevitable retirement.

Shockingly, 13 is a monstrous journey full of doom, sludge, psychedelic and bluesy prog-rock. The album revisits and recaptures the glory days. Simply put, there is some real quality filth in here.

The second half of the album is its strong point. “God is Dead?” and the intro song are exaggeratingly long with less quality content to account for. All the rest are complete opposites. Juggernauts like “End of the Beginning” and “Age of Reason” enjoy various time shifts, enough to make them enjoyable as they pass the 7 minute mark. "Zeitgeist" unmistakably borrows from Planet Caravan with distorted vocals singing over the bluesy and trippy instrumentals after Iommi pulls out a jazzy solo.

The production is rugged. Rick Rubin is hated by many, but he did a fine job with this record, showcasing a dry and meaty doom sound. Ozzy’s vocals are sometimes irritating, and his lyrics are far from what they used to be, but the music makes up for that downside.

The circle is complete with "Dear Father" ending with the sound of rain pouring down, just like their very first album began. And looking past the lyrical hiccups and sometimes irritating vocals, 13 is Black Sabbath’s closest thing to a damn good record in years. Some may argue this reunion was not necessary, but after the slump of “Forbidden”, this album was a must. It’s Sabbath’s swan song and illustrates a modern take on the band's glorious legacy.


 
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