I also won't delve too much into Max Norman's Annihilator-esque, razor sharp production, nor the considerably profound lyricism here either. I could sit here and organize the tracklist even more, I could pick apart the truly scintillating solo on Tornado of Souls, I could tell you that Dawn Patrol is likely everyone's least favorite, but you surely already know all that. As for technical ecstasy, that aspect can be found at its highest level in Holy Wars, Hangar 18, and Poison Was the Cure, the latter of which is pretty much what you'd get if you gave Metal Militia a hefty dose of crack cocaine. If you wanted Peace Sells-level savagery, these three are your best bets. The most savage cuts on here are Take No Prisoners, Five Magics, and Rust in Peace.Polaris. It's not all fun and games, as there's certainly a hefty dose of aggression on display. I have a special love for this song, as I performed it at a recital, but I chose it because I already admired the shit out of it after just one listen. Its opening notes are wonderfully melodic, the verses are both bouncy and also shifty as hell, and Friedman's solo is simply mind-bending. Lucretia, for example, is not exactly a thrash song, but it delivers those most recently mentioned aspects in spades. Aside from syncopation, legato, and other Mustainely techniques, this album features a surprising amount of melody, tempo shifts, time signature fuckery, and more. Holy Wars.The Punishment Due, Rust's savagely technical opener, features several great syncopated, solo-like aspects in even just the opening rhythm guitar parts, and this standard is upheld throughout pretty much the entire album think Metallica's And Justice For All, but faster and better. fast and good riffs, he ups the ante in pretty much every way you could imagine. Aside from what is often expected of him, i.e. The riffwork is obviously something to behold, after all, this is Mustaine in his prime. Every solo and riff is downright inspired, the production is extremely nice and quite crisp, and perhaps most importantly, Rust does maintain the dynamic feel of its predecessors, with several lower-key moments woven directly into the tracks so it all doesn't become too overwhelming. Basically all of those issues are entirely rectified on Rust in Peace. So What, if we all can be honest here for a second, frankly sucked a bit because of its rather shitty mix, hired cast of nobodies, and low amount of spectacular tracks. It's no surprise that after the introduction of speed metal symphonist Marty Friedman and soon-to-be thrash percussion icon Nick Menza, the music blossomed once more into something quite spectacular. They kept those traits subdued enough so that the speed/thrash metal still shined, and that's pretty much exactly what's happening with Rust in Peace as well only this time, they've incorporated shred/tech ingredients. What's great about that one is the implementation of, at the time esoteric (for metal), quasi-jazz and punk aspects. But Who's Buying, Megadeth's other masterpiece. Where to even start? Well, let's rewind back to Peace Sells. What can really be said about this one that hasn't already been said? Well, I don't really give a damn about that, it's time to praise the ever loving shit out of this classic. That album is none other than Megadeth's Rust in Peace. Thus, I have decided to review the album which convinced me to embrace metal as not just a hobby, but as a lifestyle. It's my 50th review, a milestone for me on this site, and I've also been feeling rather nostalgic lately.
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