Ex-Megadeth shredder Marty Friedman fills every last nook and cranny of Wall of Sound with his wily genius. His roots in thrash explain the music’s visceral speed: One minute, he fires off spherical arpeggios with all the mechanistic repetition of a cyborg (“Self Pollution”); the next, he hitches glorious, Queen-inspired melodies to double kickdrums charging like Clydesdales. But Friedman also has a gift for vaulting into utterly foreign terrain, as the classical string touches and piano runs in neoclassical ballad “The Soldier” show.