Megadeth, "Rust In Peace"

Megadeth
"Rust In Peace"
Capitol (1990)
1001 Albums You Must Hear Before You Die

Megadeth has always been the backwards little brother of Metallica. It came into thrash behind Metallica (as a result of vocalist/guitarist Dave Mustaine having been kicked out of the latter), and by the time "Rust in Peace" came out in 1990, Metallica had already moved on to more radio-friendly heavy metal. "Rust" may have been Megadeth's last foray into thrash, but it was by far the band's effort. I was thrilled to see it included in 1001 Albums, because it's a criminally underrated album that competes strongly with thrash landmarks like "Master of Puppets," which overshadow it.

Understanding thrash to be a form of metal driven by rapid rhythms and aggressive guitars, Megadeth falls somewhere between the constant assault of Slayer and the grand arrangements of Metallica (which took no issue with hitting the brakes for aesthetic value). Megadeth tries to stay fast; it doesn't feel the need for "Fade to Black"-style ballads (with the exception of the skippable "Dawn Patrol" here). Mustaine's strength as a guitarist is his ability as a soloist. There has long been debate over who's better, Mustaine or Kirk Hammet from Metallica, and in reality Mustaine is more qualified as a lead guitar player. What gives Metallica the advantage is James Hetfield's riff-writing, as well as his vocal ability. Vocals are always an opinion-based thing, but I find Mustaine's nasally delivery annoying. If you can, get the original recording of this album, and not the 2004 remaster, where he sounds worse with age.

Caveats about Megadeth aside, "Rust in Peace" is one of the few thrash albums still worth your time. Take your pick from any of the opening three tracks: "Holy Wars (The Punishment Due)," "Hangar 18" and "Take No Prisoners," and you won't lose.

The opener is the highlight of Megadeth's discography. The track begins with a minute-thirty of rapid riffing, giving a preview of what the following 40 minutes will hold. The lyrics are the socio-political fare that people expect from Mustaine, covering religious warfare (believe it or not). The song then delves into "The Punishment Due," a track-within-a-track, before finishing off at the same blistering pace it began on. And of course there's a solo, so the song encompasses everything that Megadeth and Mustaine stand for.

"Hangar 18" focuses more on the solos, a series of dueling blasts from Mustaine and fellow guitarist Marty Friedman that "Guitar Hero" players are more than familiar with. "Take No Prisoners" is the fastest track on the album, and is more compact for listeners who can't handle the seven-minute thrash epics. The most underrated track on the album has got to be "Tornado of Souls," a song that, despite its awful title, features the catchiest hook on the record and an excellent solo of its own. Realistically, it should have been an answering single to what Metallica was putting out at the time. Closing the album out is the equally excellent "Polaris (Rust in Peace)."

Perhaps the thing that made "Rust in Peace" Megadeth's best album is that the band finally had its act together. It was the first time the band had made it through a recording without firing the producer. The "Rust" lineup was also the best group of four musicians the band ever had, in a history that has seen quite a few members come and go. The pure and simple problem is that Mustaine has always been inconsistent as a songwriter, and most of Megadeth's albums are pure filler as a result. However, if a metal band can only put out one good full album, "Rust In Peace" is worth all the other crap.

INTERESTING FACT: "Rust in Peace" is Megadeth's fourth studio album…and its first not to feature an ellipsis in the title.

Einstürzende Neubauten, "Kollaps"

Einstürzende Neubauten
"Kollaps"
ZickZack (1981)
1001 Albums You Must Hear Before You Die

Although brought to the attention of mainstream audiences by American acts like Nine Inch Nails and Ministry, the industrial genre has always contained at least a glimmer of German spirit. Acts like KMFDM (the second best-selling industrial group, lightyears behind NIN), Rammstein and Combichrist all represent Deutschland in their varied methods. But the German presence doesn't stop with native bands; English industrial pioneers Throbbing Gristle featured footage of the Holocaust during its performances, and Industrial Records' logo was a gate from Auschwitz (an omen of the genre's prevailing cynicism and disregard for censorship). New York duo Hansel und Gretel speak only German in its vocals, despite being born in America. The German influence goes back to the oft forgotten band Einstürzende Neubauten ("Collapsing New Buildings").

Most of the reason why Neubauten never reached the popular heights of NIN is explained by vocalist Blixa Bargeld's description of the group's first album: "We wanted to make the most unlistenable album ever." If you want to know how to approach "Kollaps" as a listener, consider the the title of the track "Schmerzen horn" ("Listen with pain"). If you find NIN's music uncomfortable, you'll quickly realize just how far the genre has come melodically when you plug into Neubauten.

The band is a three-piece, consisting of Bargold, the vocalist and guitarist, plus N.U. Unruh and F.M. Einheit, both percussionists. By "guitarist," I mean Bargold picks and scratches at strings to create ungodly screeching through overly sensitive amps. The two percussionists hammer on anything that's not a drum, and then run that through a mic to create the same static-laden effects as Bargold's guitar.

"Ste Auf Berlin" ("Stand Up Berlin") is a lesson in the fundamentals of pure industrial music. Neubaten wasn't the first band to come up with this stuff (back to Throbbing Gristle), but it's the first band in my books to do so, so we'll run with it. The song opens with the sound of a drill (the term "industrial" refers to using machinery as an instrument, a trait rarely employed anymore), which gives way into a disarmingly clean rhythm, which explodes into a terrible wave of white noise. If you're forced to remove your headphones in pain, it's understandable. Just realize that this is one of the more melodic tracks on the album. "U-Haft-Muzak" ("Pretrial Detention Music") features shifts in output balance, bursts of percussion and bits of chant, thrown together in seemingly random order.

I admit, I can't see myself listening to this album again. As someone who frequents metal and other genres excelling in uncomfortable audio, I can say that this is truly off the deep end. It's worth noting the influence the group had however. Check out the static effects used both by current industrial acts and even alternative stars like The Raveonettes. The band's list of big name fans isn't short either (check out the "Interesting Fact). Take a listen, but don't feel bad if your eardrums can't take it.

INTERESTING FACT: The band's logo, titled "Toltec Man" after the pre-Aztec Mexican tribe that was responsible for its painting in a cave, is one of the most popular band logos to get as a tattoo. Among the famous recipients of a Toltec tat are Henry Rollins of Black Flag, Ministry frontman Al Jourgensen and Mayhem vocalist Sven "Maniac" Kristiansen.

"Steh Auf Berlin"

Pantera, "Vulgar Display of Power"

Pantera
"Vulgar Display of Power"
Etco (1992)
1001 Albums You Must Hear Before You Die + 1000 Recordings to Hear Before You Die

Depending on who you ask, Pantera has either five or nine albums. Proponents of the five-album-theory argue that Pantera truly began with "Cowboys From Hell" in 1990. The four they ignore were from the era in which Pantera sold itself as a glam-metal band with little success during the '80s. "Cowboys" was new vocalist Phil Anselmo's debut, but "Vulgar Display of Power" is the album that marked the band's high-point.

It's unfortunate that the group opened with single "Mouth For War." That song was great, but the second track, "A New Level" serves as a mantra for the record. Anselmo, an angry vocalist who often smashes himself in the face with the microphone on stage, roars about the band's "new level of confidence." The group's new, heavier style surely brought out some adrenaline, but thanks to the singles that emerged on "Vulgar," the band had to be confident with its place on the charts as well.

The three singles from the album demonstrate what would come to be known as "groove metal," an ambiguous genre. The term is (basically) defined as "metal with groove." This seems to suggest that Pantera was the first nu-metal band, so I'd prefer to associate guitarist "Dimebag" Darrell Abbott's heavy riffs with the sludge metal scene. His solos however, demonstrate more boogie than what was found in thrash, making them worthy of a term such as "groove metal."

Regardless of classification, there is no doubt that the appeal of Pantera is centered around Abbott. He could do everything as a guitarist. Fast, slow, lead, rhythm; he had to play it all because he was the only guitarist in the band, a rarity among metal outfits. "Mouth for War" and "This Love," both singles, deliver a sampler of what he could do. "Love," described as a ballad by some, shifts from eerie picking during the verses, to a blunt, hammering style Anselmo would later describe as "ass-stomp," to a bluesy solo.

"Walk" is Pantera's most recognizable riff, which is somewhat appropriate and sad at the same time. It's appropriate because Abbott does the most with less; his best riffs are simple ones. That being said, "Walk's" repeated hammer-on is almost too simple. "Mouth For War" is more interesting in my mind, but "Walk" is commanding in its presence. The song is almost as notable for its solo, which shows that Abbott hasn't completely forgotten what he learned during the band's term as a glam group. His playing can be as fleet as it can be blunt.

Abbott's onstage murder in 2004 revealed his influence on the world of metal, as fans and bands poured forth in tributes. In my mind, he is one of the best riff composers in history (up there with Iommi, Page and Hetfield), and "Vulgar Display of Power" is a showcase of this ability, from quick thrash to heavy grooves. The band's follow-up album, "Far Beyond Driven," features a better collection of singles, but as a whole can't live up to this collection of beautifully angry songs.

INTERESTING FACT: Abbott won the spot of guitarist in Megadeth during the mid-80's, but Dave Mustaine wouldn't take on Pantera drummer Vinnie Paul Abbott, Dimebag's brother, so the brothers returned to their original project. I've said it a dozen times: The rest is history.

System of A Down, "System of A Down"

System of A Down
"System of A Down"
American (1998)
1001 Recordings to Hear Before You Die

Music critics are limited. It's a fact. There are simply too many albums in existence for them to consider every one. The unfortunate side effect of this is that many acts are often tied to one album and the rest of their catalogue is ignored. Metallica is such an act. Critics point to "Master of Puppets" without hesitation, although the group released three comparably good albums during the same decade. Therefore I have to give kudos to "1001 Albums" for choosing System of A Down's debut album over its blockbuster follow-up "Toxicity." The latter is a superb metal album, but I agree that the former is the best display of the band's quirky tendencies.

Quirky is an understatement. Sure, there are the jumps between time signatures, but the group's bizarre vocals were its original calling card. Lead vocalist Serj Tankian has, at the core of the matter, an excellent high-baritone voice. Which he avoids using during this album. Instead, he employs death growls, high-pitched shrieks (as does guitarist Daron Malakian) and uncomfortable whispers to add to the trippy ambiance generated by the changing tones and bizarre lyrics. "Suite-Pee" kicks off album aggressively with a combination of disconcerting vocal styles, and the strategy continues in tracks like "Know," "Ddevil" and "Mind."

Tankian and Malakian are both talented guitarists (both emphasizing "rhythm" over "lead" style) but their knack for weaving melodies would emerge on "Toxicity." Malakian does equip Tankian's lyrics with a variety of music styles here however. From the thrashing riff on "War?" to the haunting, more mainstream riff on "Spiders" (the one song that hints at the band's future pop-friendliness). The best combination of the band's best attributes is the single "Sugar," which combines a bizarre narrative with riffs that alternate between bop and heavy metal.

The band has always been less than subtle about its political causes. In recent years, it has opted more and more for bluntness, often featuring spoken word bridges outlying societal issues. It is much more understated here. Based on the liner notes, "Mind" is about CIA mind control programs and "Spiders" is about 1984 surveillance but you wouldn't know it from one listen. The band is a tad more forward on "P.L.U.C.K" (Politically Lying Unholy, Cowardly Killers), which comments on the group's favorite cause, the Armenian Genocide of 1915 (the band are all of Armenian decscent).

As I mentioned several times, this album tends toward weird. The radio-friendly singles that poured forth from "Toxicity" aren't there, and as a result, this album is tough for fans of "Toxicity" to embrace. I'd recommend that newer metal fans to check out the band's acclaimed second album, but for those who have already enjoyed that album, don't ignore its splendid predecessor.

INTERESTING FACT: The genocide committed against the Armenians by Turkey is still a hot political issue. Turkey denies the classification of "genocide," even though the word genocide was conceived by experts specifically to describe these events. The United States has avoided officially recognizing it as genocide in order to maintain good relations with Turkey, which holds U.S. military bases. So, they made it a state issue, because apparently the recognition of genocide is a state issue. Every state aside from Alabama, Indiana, Iowa, Mississippi, South Dakota, West Virginia and Wyoming have officially recognized the events as genocide.

Metallica, "S+M"

Metallica
"S&M"
Elektra (1999)
1001 Albums You Must Hear Before You Die

Metallica is about the most hardcore music that most of the populace can stand to listen to (hence the scores of uncomfortable looking middle-class men at Metallica shows while Lamb of God is opening). Metallica is heavy to be sure, but it need some help if it’s going to be truly scary. Cue Michael Kamen and the San Francisco Symphony Orchestra.

As many a black metal band can tell you, symphonic contributions in a minor key can go beyond making music creepy; it can make it sinister. Terror wasn’t Kamen’s goal when he approached Metallica, but he understood the potential for adding a symphonic element to the group, which already took a fairly epic approach to music (“Master of Puppets,” the band’s most popular opus, is more than nine minutes of thrash). Metallica was hard-up to say no; original bassist Cliff Burton had been enthralled by the idea of incorporating classical instrumentation into metal, plus Kamen directed the orchestra in the band’s hometown of San Francisco.

If anyone deserves credit for the success of “S&M,” it’s Kamen. Undoubtedly, he had already begun drawing up plans for accompaniment of the band’s classics before proposing the idea, but nonetheless he had to write classical compositions complementing 20 songs from a thrash band. No small task. Metallica contributed some to the planning, but Kamen took on the lion’s share of the work.

The final result features a majority of songs that work perfectly with the formula, and just a few that didn’t pan out so well. Kamen brought the strings to the front for the most part. The brass makes appearances, but the strings provide the most noticeable match for the band’s music.

Some of Metallica’s classics were obvious converts; “For Whom The Bell Tolls,” for instance. Others were more up in the air. “Master of Puppets” was handled masterfully, and ended up being a perfect mix of Metallica’s heaviness and the orchestra’s aural panache. Less effective was the performance “Sad but True,” which proved too heavy for a noteworthy cover.

As the concert was in 1999, the playlist leans towards the band’s most recent albums, the less acclaimed “Load” and “Reload.” In some instances, such as the unavoidably lame “The Devil’s Dance,” the orchestra can’t save Metallica from itself. On the other hand, the accompaniment turns “The Outlaw Torn” into an epic ten-minute piece, the emotion in vocalist James Hetfield’s voice highlighted by rising strings.

“The Outlaw Torn” is almost the best on the album, but it can’t beat “No Leaf Clover,” an original recorded for the first time for “S&M.” The song is a haunting tune that allows the orchestra to shift from soft, eerie strings to a pounding, brass-driven follow-up to the chorus. The impact of the song hits hardest when the listener finds out that it was written by Burton before his death, making the lyrics far creepier.

Metallica always makes for a good live show, with a combination of theatrics, special effects and volume. “S&M” was just an opportunity for a new method of epic performance, although maybe this time there was a touch more artistic merit.

INTERESTING FACT: Michael Kamen wasn't new to working with rock bands. "S&M" was probably his second biggest contribution...behind Pink Floyd's "The Wall." Both Roger Waters and David Gilmour came back for their respective solo projects as well.