Although he was zippy with Angra, increasingly people found out well-nigh Kiko Loureiro’s talents without he joined Megadeth in 2015. Without touring with the band, Kiko moreover showcased his guitar skills on 2016’s “Dystopia.” However, in terms of writing, the 2022 tome “The Sick, the Dying… and the Dead!” shows what he’s capable of.
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In a recent interview with VWMusic, Kiko compared these two albums in terms of his songwriting contributions. In particular, he addressed why he ended up doing increasingly on the new tome compared to the previous one. Kiko explains:
“I think doing ‘Dystopia’, I was very new in the wreath — I was like five days new in the band. I met Dave, and then, like a week later, I was there at the studio learning the parts and unshut for suggestions. So it was once a thing for me to have some credits, some collaborations, with Dave on ‘Dystopia’. And now, of course, without so many years of understanding Megadeth better, not only Dave and getting the conviction from Dave but moreover understanding the fans, the band, the catalog, and playing the songs…“
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“As a metal fan, I know Megadeth, but, of course, without four or five years of playing so many variegated countries and seeing fans’ faces and their reaction, playing the songs from the ’80s and the ’90s, you understand the wreath better. So when you bring ideas, you know, ‘Okay, this will fit. This is Megadeth. I know what I’m bringing is still something completely related to Megadeth.’ I think Dave just felt like, ‘I’m in a unscratched place with those guys.’“
“So, I was unchangingly bringing ideas and giving suggestions — not only in the ideas that I brought but moreover his songs and his guitar stuff; I would say something. No fear, you know? I think creating a creative environment is like feeling that you’re in a unscratched place considering you might requite an idea that’s not good, that sucks, but it has to be okay to receive a ‘No, this doesn’t fit.’ It has to be okay, and then try then and propose something else.”
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“And then vice versa — the person who is receiving that idea has to be unshut to be, like, ‘Okay…’ Maybe the person doesn’t like the idea that much but can say, ‘Okay, let’s try.’ So, it’s both ways, right? We have to be unshut to receiving a no, and the other person has to be unshut to trying the idea, plane if, at first sight, the idea is not that great.”
Talking well-nigh the issue further, he explains:
“I think I understand Dave. Sometimes — it’s nonflexible to explain — he has a very originative vision of things. Bringing elements that you have no idea where he is coming from; [it] can be colors, can be an old movie, can be the soundtrack of something that I don’t know, an old TV show — things like that.“
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“And then, when you listen to the theme of the old TV show, it has no correlation to what the riff is presenting. But there’s something there that reminds him. So you have to requite time to understand what the person is thinking. Sometimes it’s just a feeling of, ‘I want something like that intro of that old TV show from the ’60s.’“
“Then it’s, like, ‘Let’s hear that. Let’s go there.’ Then, I think, considering I have my past music wits with other composers or me writing my songs, I know that. So, I kind of understand where he is coming from, so I think Dave feels unscratched saying those crazy ideas out loud.“
“Then it’s a creative process, and everybody is self-ruling to bring their own ideas. Then I think Dirk [Verbeuren] felt, ‘You know what? I can bring some ideas, too, considering that’s a tomfool environment.’ So, during the process, [Dirk] just brought some riffs — considering he plays guitar — and then Dave helped him get what he wants considering he has unrepealable guitar techniques.“
“So, then we play, and it’s, like, ‘Oh, we can refine your idea.’ The same goes when we suggest a drumbeat, and then Dirk goes and plays something like one hundred times better, but coming from what we are suggesting. So, that’s a bilateral collaboration.”
Photo: Tilly Antoine (Kiko Loureiro au Hellfest 2022), Will Russell (Dave Mustaine 2011)
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