Metal process

KIKO LOUREIRO on the writing process of MEGADETH: DAVE MUSTAINE “has a very artistic vision of things”

In a new interview with Andrew DiCecco by Vinyl Writer Music, MEGADETHBrazilian-born guitarist Kiko Loureiro talked about his increased number of songwriting credits on the band’s latest album, “The sick, the dying… and the dead! »compared to the first MEGADETH album he appeared on, 2016 “Dystopia”. He said, “I think doing “Dystopia”, I was very new to the group – I had been new to the group for five days. I met David [Mustaine, MEGADETH leader], and then, like a week later, I was over there in the studio learning the parts and open to suggestions. So it was already something for me to have credits, collaborations, with David on “Dystopia”. And now, of course, after so many years of understanding MEGADETH better, not only David and gain the trust of David but also understanding the fans, the band, the catalog, and playing the songs… As a metal fan, I know MEGADETH, but, of course, after four or five years of playing in so many different countries and seeing the faces of the fans and their reaction, playing the songs of the 80s and 90s, you understand the band better. So when you come up with ideas, you know, “Okay, that’ll do. This is MEGADETH. I know that what I bring is always something completely related to MEGADETH.’ I think David I just felt like, ‘I’m in a safe place with these guys.’ So I was always contributing ideas and making suggestions – not only in the ideas that I was contributing but also in his songs and his guitar stuff; I would say something. No fear, you know? I think creating a creative environment is like feeling in a safe place because you might come up with an idea that’s not good, sucks, but it has to be acceptable to receive a “No, that doesn’t fit “. It has to be ok, then try again and offer something else. And then vice versa – the person receiving that idea has to be open to being, like, ‘Okay…’ Maybe the person doesn’t like the idea so much but can say, ‘Okay, let’s try. ‘ So it’s both ways, isn’t it? We have to be open to getting a no, and the other person has to be open to trying the idea, even if at first glance the idea isn’t that good.

“I think I understand David“, he continued. “Sometimes it is difficult to explain, he has a very artistic vision of things. Bringing in items that you have no idea where it came from; [it] it can be colors, it can be an old movie, it can be the soundtrack of something I don’t know, an old TV show — things like that. And then when you listen to the theme from the old TV show, it has no correlation to what the riff presents. But there is something that reminds him. It is therefore necessary to allow time to understand what the person is thinking. Sometimes it’s just a feeling of, ‘I want something like that intro to that old 60s TV show.’ Then it’s, like, ‘Let’s hear this. Let’s go.’ Then I think because I have my past musical experience with other composers or myself writing my songs, I know that. So I kind of understand where he’s coming from, so I think David feels safe saying these crazy ideas out loud. Then it’s a creative process, and everyone is free to bring their own ideas. So I think Dagger [Verbeuren, drums] felt, ‘You know what? I can also contribute some ideas, because it’s a cool environment. Thus, during the process, [Dirk] just brought in some riffs – because he plays guitar – and then David helped him get what he wants because he has certain guitar skills. So we play, and it’s, ‘Oh, we can refine your idea.’ The same is true when we suggest a drumbeat, then Dagger go and play something like a hundred times better, but coming from what we suggest. So it’s a mutual collaboration.”

last fall, Kiko said in a Youtube video which Mustaine does not use music theory “at all” to compose MEGADETHthe songs of. “You have to understand that people are different,” he explained. “A creator can play something and just imagine the mountain, the sea, the hell, a war – imagine things, those sounds. He can associate that riff with a machine gun or associate that riff with a bomb exploding, in the case of MEGADETH. But he can play a chord and imagine the mountains, the sun, the sail, whatever. So some people are like that. Other people need the theory – they need the names, they need the things organized to make sense. This is why some people really relate to love theory and theory. I like theory. Others think that they don’t need theory to compose, to create, because everything is a question of imagination. And, of course, the basic stuff they might know – “Oh, that’s a major chord”, “This is a minor chord”, “That’s the name of the notes, like E, A, D”, but in the end, it doesn’t really matter either.”

In a previous video, Kiko he was asked if he had learned anything by playing with it Mustaine since seven years, Kiko said, “Oh, yeah, man. Oh, yeah. I don’t know if you’re asking about guitar stuff, but I think my answer would go more, like… I learned watching him strive to be unstoppable, to be strong, to strive for excellence, to demand excellence from everyone, and everyone delivers excellence, delivers the best of themselves. Leadership… What else? I don’t know… Beat Fight for your case. Fight for your music. Fight for your band. Fight for your fans. Be an artist, be creative. [and] combine all of these things – being professional and at the same time creative and at the same time having fun while you do things. Yes, a lot of experience in the music industry too – in the music industry in general, in show biz.

“And as far as the guitar goes too, the essence of thrash metal,” he continued. “All the beats – mostly the beats, then the attitude and the force, the vibe, the dynamism, the intensity. So all of those things while you’re playing. Mixing the technical things with a lot of energy – like the metal with punk with attitude I think I’m a much better rhythm player because of just hanging in there and playing with it David for all these years – since 2015. He also composes – he composes in a way that is very different from mine. And I think watching and learning the way he does too.”

In an October 2015 interview with The Irish Sun, Mustaine was full of praise for Loureirosaying, “A lot of times guitarists won’t know how to add something – they’ll put something in there that looks like tits on a bull, useless. Kiko came and immediately started making very good suggestions which we implemented [to ‘Dystopia’]. When he first came along, I knew he had the ability, but I didn’t know if the technique and songwriting talent was going to show up that soon.”

He continued: “What was great about the suggestions that Kiko fact was they weren’t just guitars – he did a bass part in a song called “I hate you” [that made it] really come. In fact, that was one of the songs where he made a huge melodic contribution in the chorus and I was like, ‘Man, that sounds like something.'”

According David, Kiko has all the necessary elements to be part of a legendary metal band like MEGADETH.

“To me – in very simple terms – if you want to be a musician, it’s one thing. If you want to be a rock star, it’s another,” Mustaine said. “But if you want to be legendary, you have to have three very important things: you have to have ability, you have to have looks, and you have to have attitude. Without those three things, it’s kind of like trying to get a stool. three-legged milk without three-legged – it just won’t work.”

He continued: “I found with Kiko, his ability was astronomical, with his attitude he was very confident in what he was doing – there is a difference between confidence and arrogance. On the surface, he was very classy and very discreet on the street, but on stage, he takes complete control of his performance. When he came to Nashville to visit me, I didn’t even play him for most of the day he was there. I just wanted to hang out with him and it’s been a very long time since I hung out with a guitarist before hiring him. Usually I would listen to how he was playing and then I would say, ‘Okay, we’ll sort this out.’ I didn’t want to do that again. To go out with Kikoand having lunch, relaxing and talking about music was all I needed – I knew he was the right guy.”

“The sick, the dying… and the dead!” sold 48,000 equivalent album units in the United States in its first week of release to land at number three on the Billboard 200 chart. It scored MEGADETHeighth top 10 album. “The sick, the dying… and the dead!”Of the 48,000 units earned for the week, album sales comprise 45,000, SEA units comprise 3,000, and TEA units comprise a negligible sum.

MEGADETHThe previous top 10 Billboard 200 entries were “Countdown to Extinction” (No. 2, 1992),“Youthanasia” (No. 4, 1994),“Encrypted Writings” (No. 10, 1997),“United Abominations” (No. 8, 2007),“End of Game” (No. 9, 2009),“Super Collider” (No. 6, 2013) and “Dystopia” (No. 3, 2016).