16th studio album, second with Kiko Loureiro joining Mustaine as his axe partner, first with Dirk Verbeuren on drums, and Steve DiGriorgio on bass just for the recording, with James Lomenzo back in the band following the recording and playing live. Megadeth has always seen member changes every few albums, sometime lineups last longer. How does this change the chemistry and music from album to album? Well, by this point singer/guitarist Dave Mustaine has a clear vision of the music since "Endgame" (which is great) in 2009, with "Super Collider" the exception, "13" a few overlooked goodies. The albums before ("Cryptic Writings"- "United Abominations") showed a lot of trial and error and variety with varying degrees of success, and failure.

Ok, so by the pervious album, "Dystopia" in 2016, is where Mustaine worked all the ingredients together. The aggression and memorable thrash riffs from the 80s, with the technical complex changes of "Rust In Peace", to the direct riffs, melodies and the hooks of 'Countdown to Extinction" and "Youthanasia". 'The Sick, The Dying, and The Dead' is next step.
Title track opens the album with a man saying "bring out your dead" and eases you in with guitar notes before launching into a classic Megadeth two guitar riff attack, riff, melody established, steadfast tempo, with twin guitar harmonies. 'Life In Hell' a heavy riff direct thrasher with Dirk carrying the song through speed and beat changes. Single 'Night Stalkers' riff is savage band firing on all cylinders. Kiko lays down some of the tastiest leads in thrash. Features guest spoken words by Ice T.
Acoustic guitar at the start to 'Dogs of Chernobyl', accenting keyboards, as guitars are worked in it has a grand cinematic feel but its short lived. Guitar splashes for the verse for 'Sacrifice', bunch of lead trade offs in 'Junkie', which is about just that. By track eight, 'Killing Time' another one of those familiar Youthanasia moments returns, while 'Soldier On' is one of those direct arsenal riffs Megadeth are known for with a needed solo section change. I like that slower groove change during 'Celebutante' which alternates back and forth with the speed. Lots of movement within all these songs. And that's different, putting the first single at the end of the album, 'We'll Be Back', which I think would have worked better swapped with the title track. It's too fierce not to kick off the album.