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Megadeth

Megadeth, cabeza de cartel del Leyendas del Rock



 

European Carnage Tour – 29.03.2011, Coliseum de A Coruña + Slayer
Crónica y Fotos Andrés Abella - IndyRock


 Tarde lluviosa en A Coruña, aunque ya desde tempranas horas, con gente haciendo cola en la puerta para entrar a éste Coliseum, espacio polivalente, que lo mismo hace de plaza de toros como de recinto de conciertos. Ante todo, sorprende su tamaño (11000 personas de capacidad) y su calidad en cuanto a sonido e iluminación, perfecto para éste tipo de eventos.

Si bien a las 8 de la tarde en punto las puertas se abrían tal y como figuraba en la entrada, no fue así para el resto de las horas, ya que poco antes de las 9 saltaban al escenario los Angelus Apatrida, cuando estaba escrito que la velada empezaría a las 21:30, con lo que mucha gente se perdió el concierto de los albaceteños. Ésto dió bastante que hablar entre los asistentes que, según iban llegando al recinto, al filo de las 21:15, se encontraban con un setlist ya en su recta final y la pista y gradas a tres cuartos de su capacidad. En cualquier caso, los representantes del thrash nacional no defraudaron a nadie, y ejecutaron con precisión temas como Clockwork, Blast Off, Give 'em War... Un setlist que se hizo ciertamente corto (escasa media hora de concierto), pero muy agradable.

Con bastante puntualidad (apenas pasaban unos minutos de las 9 y media de la noche), con todo el aparataje montado, salen al escenario Mustaine, Ellefson, Broderick y Drover, o lo que es lo mismo, el primer cabeza de cartel de la noche: Megadeth. Con una iluminación perfecta, un sonido bastante más que correcto, y una actitud por parte de Chris Broderick totalmente impresionante (no así la de Dave Mustaine, que apenas sí le hizo carantoñas al público en todo el concierto), van dejando atrás tema tras tema: Trust, In My Darkest Hour, Hangar 18, Wake Up Dead, Poison Was The Cure, head Crusher.... sin darnos ni un solo respiro. Con She-Wolf el público se volvió aún más loco de lo que ya estaba, e incluso se empezaron a ver los primeros remolinos en la arena, aunque muy comedidos, y poco a poco, nos íbamos acercando a la mitad del concierto.  A Tout Le Monde (tema con el que intentaron bajar un poco el ritmo, sin conseguirlo), y unas breves palabras de Mustaine, diciendo que A Coruña es un sitio precioso, que lo ha visto desde la ventana del hotel... para arrancar con 1,320' y acto seguido, Sweating Bullets y la ya mítica Symphony of Destruction. Dejaron para el final Peace Sells, con un Vic Rattlehead trajeado incluido, y, tras un amago (sin conseguir ni siquiera asustar al personal), arrancan con Holy Wars... The Punishment Due, para dejarnos un respiro, ir a por un par de cervezas, y volver a la carga con Slayer.
 

Éstos tardan un poco en subirse al escenario, quizás por el aparataje de los ágilas colgados, o por el muro de sonido. Se llena la pista de humo y focos rojos, y cuando salen a escena Dave Lombardo y Kerry King, la multitud ya destila ansia por escucharles. Al momento, salen Tom Araya y Gary Holt (sustituyendo a Jeff Hanneman, tras la picadura de una araña en su mano), y da comienzo el show. La gente intenta conseguir como sea la primera fila. Gary Holt se porta bien, teniendo en cuenta que Slayer no es Exodus, y aqui está un poco "por acompañar". No destaca, en ocasiones, su guitarra apenas se nota, pero hace un buen papel, como no podía ser de otra forma para un guitarrista de su nivel.

La verdadera estrella del concierto fue Kerry King, moviéndose y tocando con su estilo inconfundible. Saludos en español de Tom Araya, que da las gracias una y otra vez. A éstas alturas de la noche, los remolinos empiezan a ser cada vez menos discretos, y en mitad del concierto, hasta Araya señala y asiente. Van dejando atrás tema tras tema, hasta llegar a Dead Skin Mask, el cual Tom tuvo que repetir varias veces el ya clásico "dead" "skin" "mask", ya que cada cual coreaba lo que más le apetecía, o se le asemejaba. Silent Scream, The Antichrist, Americon, Payback, Seasons in the Abyss, Snuff, South of Heaven, y por fin, el ya conocido por todos Raining Blood, momento en el cual el auditorio estaba ya extasiado, tanto por la caña que ofrecieron, como por la calidad del sonido e interpretación.

Dejaron para el final Black Magic y Angel of Death, y con ésta última, se encendieron las luces para irnos todos a casa (o al bar más cercano), con un regusto inmejorable del mejor Thrash Metal que ha pisado la península en los últimos años.



Setlists:
Megadeth
01. Trust
02. In My Darkest Hour
03. Hangar 18
04. Wake Up Dead
05. Poison Was the Cure
06. Head Crusher
07. She-Wolf
08. A Tout Le Monde
09. 1,320?
10. Sweating Bullets
11. Symphony of Destruction
12. Peace Sells
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13. Holy Wars… The Punishment Due

Setlist: Slayer 
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MEGADETH presentan en directo Presentarán su último trabajo de estudio "ENDGAME"
Con su anterior trabajo “United Abominations” (2007), Megadeth nos deleitó con un arsenal de afilados temas heavy metal solo comparables a la crudeza de Killing is My Business...And Business is Good!, el mordiente político de Peace Sells...But Who's Buying?, la búsqueda de lo oscuro de So Far, So Good...So What!, la majestuosidad metálica de Rust in Peace, la aplastante maquinaria de Countdown to Extinction y el exorcismo de Youthanasia y Cryptic Writings.
La huella dejada por Mustaine se deja ver en una forma de ataque sobre la guitarra y una forma de cantar las verdades sobre como afrontar el presente y seguir hacia adelante. Un luchador nato, siempre a contra corriente luchando contra todos.
Con unas ventas mundiales cercanas a los 20 millones de copias, una web galardonada como la mejor página de rock en la red, varios lanzamientos considerados pilares del metal contemporáneo y todo ello compaginado con la majestuosa gira Gigantour convierten a Dave Mustaine en una leyenda.
Ahora, junto a Slayer, en la gira European Carnage Tour 2011, nos presentan su doceavo álbum de estudio, “Endgame”. Y lo presentan con nuevas incorporaciones en sus filas, Chris Broderick a la guitarra y David Ellefson, al bajo. Grabado en el nuevo estudio propiedad de la banda, Vic's Garage, situado cerca de San Diego, este nuevo trabajo refleja los detalles técnicos, la ferocidad y los gruñidos que son sinónimos de Megadeth. “Endgame” muestra como el cerebro de Megadeth, Dave Mustaine, vuelve de nuevo a sus raíces, y de nuevo se ve el resultado, un disco espectacular que se sitúa no solo entre los mejores trabajos de Megadeth, sino entre los mejores que puede ofrecer la música metal actual.


//Dystopia bio//

It was over 30 years ago that Dave Mustaine founded Megadeth, in the process pioneering the sound that would become known the world over as thrash metal. And from the very beginning, the band proved to be the most lethal and audacious unit on the heavy music scene, pushing thrash to the limits of musical ferocity and instrumental virtuosity on early efforts like their 1985 debut, Killing Is My Business…And Business Is Good! and 1986’s seminal Peace Sells…But Who’s Buying?. 

In the decades since, Megadeth have taken their place as one of metal’s most influential and respected acts—not to mention among its most successful: Over the course of their career, the band have sold 38 million albums, notched six consecutive platinum efforts—including 1992’s two-million-selling Countdown to Extinction—and garnered 11 Grammy nominations. And onstage they continue to be a world-dominating metal force, shaking stadiums from the U.S. to Bulgaria as a key component of the recent milestone Big 4 concerts, as well as playing their own shows to massive crowds in every corner of the globe. 

Now, in 2016, Megadeth have reinvented themselves once again. The legendary metal outfit, led by visionary singer, guitarist and songwriter Mustaine, has announced the release of their 15th studio effort, Dystopia. The album, which sees Mustaine once again joined by stalwart bassist David “Junior” Ellefson, is the first Megadeth effort to feature new guitarist Kiko Louriero and drummer Chris Adler, the latter on loan from Lamb of God. Together, they inject new levels of musical venom and instrumental dexterity into what was already a wickedly potent brew.

The result is an offering that shows Megadeth at a new peak of their powers. “We wrote a really heavy, riffy record,” Mustaine says proudly. “And there’s an excitement right now that I haven’t felt in a really long time.” That excitement is at the core of each of Dystopia’s 11 tracks. The album bristles with a renewed energy and intensity, from the pile driving, “Motorhead-y” thrust of “The Emperor,” to the epic stateliness of “Poisonous Shadows”—which finds Loureiro adding both acoustic guitar and classical piano flourishes to the mix—to the labyrinthine riffing and pummeling rhythms of “Death From Within,” a song that, Mustaine says, “just continues to build and climax. There are riffs in there that come at you once and then you never hear them again.” 

In a similar vein is the intricately structured “Bullet to the Brain,” which, Mustaine says, “has a few different twists to it, rhythmically. It starts in one gear and then downshifts to another, and it’s not what you would expect. Most songwriters stay in this same-y sounding thing from beginning to end, but I wanted to do something that followed a weird kind of pathway. I think those unexpected surprises are a really important facet of this band, and one that we haven’t really been doing lately. It was nice to try that again.”

In fact, much of Dystopia sees Mustaine musically pushing forward while also looking back. “We’re turning toward our roots, but with a fresh new feel,” he says. To that end, leadoff track “The Threat is Real” begins, Mustaine points out, “innocently enough, with some little finger cymbals and interesting Middle Eastern percussion,” before exploding in a bout of fierce riffing. “When the song takes off, it’s just like a ‘Rattlehead’ or ‘Loved to Deth’ kind of thing,” he explains, referencing two classic cuts from Killing Is My Business. First single “Fatal Illusion,” meanwhile, “is really similar in feel to ‘Bad Omen’ and ‘Black Friday,’ that kind of stuff,” he says. “It totally reminds me of the Peace Sells era, with a lot of guitar soloing going on and the double-kick drums just pounding away.”

Those guitar solos and pounding drums, of course, are of particular interest this time around. For one  thing, the lead guitar slot in Megadeth has always been a highly coveted, if also intensely scrutinized position, and one that Mustaine has through the years filled with some of metal’s top players. In the fleet-fingered and highly versatile Loureiro, a 20-year veteran of Brazilian progressive metal act Angra, he may have found his ideal foil—a player who is equal parts stunningly virtuosic technician and aggressive, from-the-gut shredder. 

As for how Loureiro came to Mustaine’s attention, the frontman recalls, “When we first started our search, I received a list of guitar players from several friends, including Chris Adler. I looked into every one of those guys, and they all were fabulous. And compared to a lot of them Kiko was relatively unknown, even though he’s famous in Brazil and Japan. But he had the most points in the end. He’s a young and exciting guitarist, and just very, very thick with talent. And he has an exotic style that dovetails really nicely with my own playing. I mean, listen to something like ‘Conquer or Die!’ on the new album—the first solo he did on that one really snapped my head around.”

More than just a skilled player, Loureiro also proved to be a surprising creative force in the studio. “He was offering a lot of suggestions while we were recording, which is something I haven’t had come from stage left in a long time,” Mustaine says. “Like, ‘Hey, let’s maybe change this bass part…’ ” He laughs. “I mean, the guy’s here for one album and he’s already written four songs with me! So he had a big influence on the sound we were getting.” 

As did the other new addition to the band, drummer Chris Adler, who, according to Mustaine, “brought some passion back to the music.” This was partly a consequence of the fact that, in addition to being one of modern metal’s top drummers, the Lamb of God skinsman is also, like most metal musicians who came of age in the Eighties and Nineties, a rabid Megadeth fan. “What’s interesting about Chris is that he’s really into Gar,” Mustaine says, referencing late Megadeth drummer Gar Samuelson, who played on Killing Is My Business and Peace Sells. “And in the studio Chris’ knowledge of and love for that time period kept reminding me of the magic we had in the beginning of the band with Gar, who was a jazz-type drummer. Back then, we weren’t trying to sound like anyone else—we were just trying to sound like Megadeth. And if you study Chris’ drumming on this record, you can really tell it has some of that jazzy, Gar flair to it. He made me fall in love with that sound again.”

But as much as Megadeth is known for their inimitable sound, they are also equally recognized for Mustaine’s distinct, incisive vocal style and characteristically penetrating lyrics—both of which are on abundant display on Dystopia. Lyrically, “The Threat is Real” is one of several songs in which the singer unleashes his pointed social and political attacks with lethal precision, railing against a “culture made of cover-ups” where “no one cares anymore.” It’s a sentiment that continues on the title track, where Mustaine sings about how “useless thoughts of peace are met with rage.” Meanwhile, on “Lying in State,” he warns, “there’s one playing by the rules anymore,” and asks, “How will history portray us?” 

But despite all the understandable frustration baked into the words, Mustaine says there’s still hope in these songs: “They’re not so much about me saying this is what I think the world is like; they’re more about me saying this is what I think the world is going to become,” he explains. “Unless we get some people in positions of influence and power that are going to kind of bring the ship home.”

Elsewhere on Dystopia Mustaine tackles more personal topics, from obsession (“Poisonous Shadows”) to relationships gone wrong (“Bullet to the Brain”) to betrayal (“The Emperor”). He caps the whole thing off with a furious run through Fear’s rampaging hardcore punk classic, “Foreign Policy.” Why that particular song? Mustaine lets out one of his characteristic snickers: “Why not?” 

The whole thing is wrapped up in stunning album art conceived by Mustaine and brought to life by artist Brent Elliott White. Merging the past with the present, the cover image places longtime Megadeth mascot Vic Rattlehead within the dystopian world depicted in Mustaine’s lyrics. “I told [White], ‘I want something that looks like Planet of the Apes or 12 Monkeys—where everything’s just all fucked up,’ ” Mustaine says with a laugh.

The end result is an album that, from the music to the words to the artwork, stands as one of the most cohesive, hard-hitting and dynamic entries in Megadeth’s storied catalog. Indeed, more than three decades after the release of Killing Is My Business, and following through benchmark metal masterpieces like Peace Sells, 1990’s Rust in Peace and 2009’s Endgame, the thrash legends, with Mustaine firmly at the helm, are showing no signs of slowing down. 

For Megadeth, the future starts now. Prepare for Dystopia.


MEGADETH NUEVO ÁLBUM DE ESTUDIO ‘DYSTOPIA’
22 ENERO 2016
Los pioneros del Trash Metal MEGADETH publican el próximo 22 de enero su álbum de estudio número 15, Dystopia con Universal Music / Tradecraft / T-Boy Records.

Con Dave Mustaine, arquitecto musical y visionario, a la cabeza, Dystopia se ha grabado en Nashville y ha sido mezclado por Josh Wilbur (Lamb of God, Gojira, Avenged Sevenfold).

El resto de la banda está compuesto por David "Junior" Ellefson al bajo, el nuevo miembro Kiko Loureiro (antes en Angra) a la guitarra, y el batería Chris Adler, que sacó tiempo de su grupo Lamb of God para grabar Dystopia. El resultado marca una verdadera vuelta, añadiendo nueva sangre e inyectando savia nueva a la energía creativa de su nuevo álbum.

“No me había sentido tan entusiasmado en siglos”, dice Mustaine.

Con 11 temas nuevos, Dystopia se publica en formato CD y LP, así como en digital. “Fatal Illusion” fue el primer single en extraerse del álbum, y ahora llega “The Threat Is Real”.

Dystopia teje el intrincado y único estilo de componer de Dave Mustaine, su voz y los enérgicos riffs con precisión armónica, rindiendo tributo a las raíces de MEGADETH mientras que se embarcan en nuevos y duros territorios.

MEGADETH aparecieron hace treinta años, inventando virtualmente un género con su álbum de debut Killing Is My Business… And Business Is Good! (recientemente reconocido por VH1 como el Mayor Álbum de Trash Metal de Todos los Tiempos) vendiendo más de 38 millones de copias en todo el mundo, ganando numerosos premios incluyendo 11 nominaciones a los Grammy®, ganando cinco discos de platino consecutivos – incluyendo Countdown to Extinction (1992) con dos millones de venta en todo el mundo.



www.megadeth.com


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