Review by Ben for Megadeth - Youthanasia (1994)

Megadeth continue their quest for mass popularity at the expense of creativity, but the result is at least enjoyable and consistent.

There’s no doubt that Megadeth found the success they were looking for with 1992’s Countdown to Extinction release. Dropping the thrash metal and technicality and instead focusing on catchy, radio friendly tracks had increased the band’s popularity to new heights. The question was: just how far would these highly proficient metalheads be willing to simplify their sound before it completely alienated their original fans? You also had to wonder at what point any of the band members would feel that the sacrifice of creativity and experimentation just wasn’t worth the monetary gain. A quick listen to Megadeth’s sixth album Youthanasia would suggest that the guys had not yet reached these thresholds, but a look into the recording circumstances and the conflicts that occurred during it proves otherwise. Deciding to stick with producer Max Norman, the band entered Phase Four Studios in Phoenix in early 1994. This was short-lived however after problems with the studios equipment forced the band to relocate during the pre-production stage. Mustaine was determined to record the album in his home state and yet there were no other suitable alternatives available. Norman suggested they build their own in a rented warehouse, which is exactly what they did, later dubbing this makeshift studio Fat Planet in Hangar 18.

It was here that numerous conflicts occurred, with Mustaine’s controlling nature seemingly the cause of the majority over a challenging eight month period. His demands for a consistent and accessible record were simply at odds with other member’s urges for creativity, with the result being, as he puts it, “outrageous emotional interventions”. Mustaine even went as far as hiring noted fashion photographer Richard Avedon in an attempt to improve the band’s image, never hiding his fervour for mainstream popularity and financial success. As much as I generally disapprove of this creative restraint and money making focus, I have to admit that Youthanasia is indeed an accessibly pleasant album, and close to the bands most consistent effort overall. It’s not far from the approach found on Countdown to Extinction, but it’s even more streamlined, with far more focus on vocal melodies and catchy compositions. All twelve tracks range between three and five and a half minutes, and all adhere strictly to a verse and chorus focussed format, making them prime radio material. There are virtually none of the silly moments that tarnish a lot of Megadeth’s previous works, with a very serious and professional quality to the entire fifty minute running time. Probably the closest the album comes to letting its hair down is closer Victory, that cleverly mashes multitudes of well known Megadeth track titles together in a fun celebration of the band’s history.

Despite the consistently enjoyable nature of Youthanasia, there’s no doubt that this more efficient and controlled Megadeth lacks the punch of their earlier material. The first couple of listens in particular are very underwhelming, and even when the hooks dig under your skin (which they inevitably will), there’s something just a bit safe and methodical about the whole experience. The musicianship always takes a backseat to the overall “songs”, meaning you’ll be inadvertently humming along to the tunes throughout the day without really being able to recall the individual instrumentation. Even the album highlights such as Reckoning Day, Addicted to Chaos and I Thought I Knew it All rarely leave third gear and have almost irrelevant verses leading to their admittedly high quality choruses. The title track’s lead is really the only section I can recall on the album that demands attention from a musicianship point of view, but it merely reminds me of how exhilarating these guys can be when uninhibited. In the end I consider Youthanasia to be a solid and entertaining album that just doesn’t do enough to rate even close to the bands thrashier, more adventurous outings. Then again, if you’re a fan of the less extreme side of metal, there’s some very nice songwriting here that could very well be to your liking.