The initial reaction to Megadeth’s new studio album, “Endgame,” should be complete shock and awe at the shredding 2.5 minute instrumental that introduces the album. The riffs are hard-driving, complex, and intense, just as we’ve all come to expect from Megadeth—but this album is different.Since “Rust in Peace” in 1990, Megadeth has only met with sporadic success. After several explorations that moved away from the thrash genre that made the band famous, many fans have begged for a return to their “original” sound. “Endgame” is an answer to that plea.One of the strange things about “Endgame” is the overwhelming low-end of the compositions. For the past few albums, songs fell on the treble side, but in this album the instruments form a strong low-end. This contrasts perfectly with the higher solos and Mustaine’s signature “nasal” vocals.Another rare feature of the album is the combination of tight grooves and technical prowess. The album is certainly more polished than most of their previous releases and every part synchronizes well. The tight, refined nature of the album is particularly exemplified in the numerous tempo changes throughout the album. As for the tracks, there is a beautifully harmonic trade-off solo in “1,320.” “This Day We Fight“ is pure energy, and simply screams “Mosh Pit!” “Bodies” seems like a celebration of the earlier “Hangar 18” off of “Rust in Peace.” The namesake of the album presents some fast-paced riffs and intense political lyrics.”Endgame” hearkens back to the sound that made Megadeth famous, while presenting some great new experimentation. The album is unbelievably energetic with some innovative music theory built in—a necessary addition to any metalhead’s collection.