Tag Archives: Kirk Hammett

XXX’Mas at The Kyra Theatre, Bangalore

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The XXX’Mas gig held on Christmas Eve, more importantly on Lemmy’s birthday, was supposed to be a tribute to those artists born in December who had inspired the bands playing that night. The artists being paid tribute were Dave Murray, Lemmy Kilmister, Ozzy Osbourne, Kirk Hammett, Lars Ulrich, Marty Friedman, Randy Rhoads, Daniel Antonsson, Jari Maenpaa, Mille Petrozza, Chris Barnes, Chuck Schuldiner, Keith Richards, Jimi Hendrix and Jim Morrison.

There were a few hiccups before the gig began – Corrode (covering Dark Tranquility/Wintersun), Pushing Tin (covering Jimi Hendrix/The Doors) and Theorized (covering Metallica/Megadeth) pulled out at the very last minute. Shepherd, Djinn & Miskatonic and Dhwesha pitched in and agreed to play even though it was at such short notice.

XXX'Mas at The Kyra Theatre, Bangalore

Shepherd was a few minutes into their set when we walked into Kyra. Since we were not familiar with the band due to last minute changes in the line-up, the first couple of minutes were spent trying to figure out what they were called. Though they have a characteristic doom-laden sound, the down-tuned, but heavily distorted lead guitars and the processed, yet abrasive vocals were very much reminiscent of YOB, or even Acid Bath. The throbbing bass was prominent in the mix, and even though most of the tracks lasted a bit over six minutes, the sudden tempo changes surely made for an interesting set. We later found out that this was their very first gig, something that was perhaps evident from the zero interaction the frontman had with the crowd. Shepherd is certainly a band to look forward to in the future, especially for the sludge-like vibe from their sound.

Djinn & Miskatonic was the second band of the three last-minute additions that evening. They have a very interesting and unconventional line-up that consists of a drummer, a bassist and a vocalist (yessir, no lead/rhythm guitars!) D&M’s sound is primarily bass-driven (duh), with the rhythm section playing a tight, but plodding version of traditional doom rock grooves. The vocals range from laboured, almost drone-like sections sung clean, to low-pitched growls. The feel, if we could use the term, is one of horror films of days gone by, to be honest. Their brand of ultra-slow, trudging doom is not everyone’s cup of gin & tonic, and will certainly confuse a metalhead who sticks to the conventional riff-based gloom perpetrated by the likes of Sabbath, Pentagram and Candlemass.

XXX'Mas at The Kyra Theatre, Bangalore

Dhwesha was the third band in queue and put on a great show even though it was only their second live performance and they had little time to practise. They kicked off their set with typical, old school death metal ferocity and ‘Hoy! Sala’ was the first of the original compositions that they played. After enthralling the crowd with ‘Dhwesha’, ‘Ugra Narasimha’ and ‘Yudhabhumi’, they even managed to squeeze in a rousing cover – Bolt Thrower’s ‘Those Once Loyal’. Together with Djinn & Miskatonic and Shepherd they provided an excellent opening for the rest of the bands lined up.

Up next were Gorified, one of the bands from the original line-up. They were paying tribute to Cannibal Corpse and Death, more specifically Chris Barnes of the former and the Chuck Schuldiner of the latter (Schuldiner wasn’t born in December but passed away that month). As is their standard, they got the moshing started in no time giving the crowd a nice, strong dose of their brand of extreme metal. Their brutal onslaught included intense covers – Cannibal Corpse’s ‘A Skull Full of Maggots’ and ‘Stripped, Raped and Strangled’; Death’s ‘Denial of Life’ and Napalm Death’s ‘Scum.’ They ended their savagery with a song from Gani and Charlie’s older project Cremated Souls.

XXX'Mas at The Kyra Theatre, Bangalore

Mumbai’s Albatross were the next band on stage and their set that night was a tribute to Ozzy Osbourne and Randy Rhoads. They took a while to get started and set up but once their set began they were a sheer thrill to watch. The vocalist – Biprorshee Das has a solid set of pipes and terrific stage presence; he was undoubtedly one of the highlights of the night. They started off with classics ‘Bark at the Moon’ and ‘Crazy Train’ and had quite a few people singing along. Switching gears, they played Sabbath much to the crowd’s delight. Following their commendable covers of ‘Sabbath Bloody Sabbath’ and ‘N.I.B.’, they had a surprise for the crowd – Ganesh Krishnaswamy from Bevar Sea joined them for a brilliant rendition of ‘Paranoid’. Reverting back to Ozzy one last time, they played ‘Gets me Thru’ and ‘Mr. Crowley’. They had one last cover for the night – Wolf’s ‘Voodoo’ – and did quite a good job of it, especially Biprorshee, who nailed those falsettos with ease. The set ended with ‘In the Court of Kuru’, a song from their debut E.P.

XXX'Mas at The Kyra Theatre, Bangalore

Headliners Kryptos were doing an Iron Maiden tribute set (celebrating Dave Murray’s birthday). Much like a Maiden gig, they had U.F.O’s ‘Doctor, Doctor’ playing on the P.A. before taking stage, something that rather unfortunately went more or less unnoticed by a large chunk of the crowd. They started with ‘Ides of March’ and proceeded to play ‘Wrathchild’ and ‘Killers’ with Ganesh taking over vocal duties the second time that night. Nolan Lewis attempted the formidable task of singing songs from Dickinson-era Maiden and did quite a good job with ‘Children of the Damned’ and ‘Flight of Icarus’. Biprorshee joined Kryptos for a phenomenal cover of ‘The Trooper’, and everyone in the crowd was chanting along fervently with the band. Ganesh was back on stage once more to round up the set with ‘Running Free’ and ‘Iron Maiden’. Kryptos were hands down the best set/performance of the night. They were also the only band to play only covers that night (Pillbox 666 doesn’t count given that they’re a cover band).

XXX'Mas at The Kyra Theatre, Bangalore

The last act of the night, Pillbox 666, took to the stage to a reduced and slightly sluggish crowd. Their set was a tribute to the mighty Lemmy from Motorhead and Teutonic thrash legends Kreator (Mille Petrozza), though the original billing had them doing a Rolling Stone tribute too. Vikram Bhat, the vocalist, couldn’t make it and the vocal duties were taken over by Ganesh and Bharad Ravi (ex-Culminant). The first half of their set comprised of Motorhead covers, Ganesh pulling of an uncannily good impression of Lemmy, playing ‘The Chase is Better than the Catch’, ‘Killed by Death’, ‘Iron Fist’ and ‘Going to Brazil’ before handing over the reins to Bharad who closed the Motorhead set with ‘Overkill’. The next half – the Kreator tribute set – was equally fun to watch (more so since the songs were from Kreator’s first two albums) with them performing badass covers of ‘Under the Guillotine’, ‘Son of Evil’, ‘Total Death’ and ‘Tormentor’.

Despite the last minute changes in the line-up and the fact that almost half of the bands ended up performing original material instead of covers, the good turnout and the nostalgia associated with some of the artists that were being paid tribute to, made sure the audience had a good time. Given how city-centric the metal acts in our scene are, it was a refreshing change to see a band like Albatross to come over all the way from Mumbai to play here. Certainly something everyone would like to see more of in the days to come. No milk and cookies here for Mr. Claus though, beer and cigarettes are more rock n’ roll! Bet Lemmy would agree.

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Metallica at Palace Grounds,Bangalore

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It took them 30 years to reach the Indian subcontinent. Most of the people attending the show were not even as old as the wait. The most successful and the most popular heavy metal band of all time, Metallica was going to make its debut on Indian soil on the 28th of October 2011. When the D-day arrived, it wasn’t without its share of hiccups. The much-awaited Gurgaon show was cancelled at the last minute which resulted in a massive riot at the venue, the damage of expensive equipment and most importantly, the disappointment of thousands of fans who hoped to catch a glimpse of their favourite band.

Yet, fans from Bangalore were desperately hoping that there wouldn’t be a similar turn of events in their city. Here was this near-impossible opportunity to watch the band that has influenced so many hard-rock and metal acts in the past 20 years, live. The flood of tweets and status messages prior to the show only reinforced the already hard-to-contain anticipation.

30th of October, 2011 shall go down in history as the day Metallica tore Palace Grounds apart with their first ever show in India. After the Black Friday in Gurgaon, the threat of the concert being cancelled in Bangalore loomed large but thankfully, the stars aligned and the Gods obliged – the stage was set for one of the greatest heavy metal bands of all time.

Metallica at Palace Grounds,Bangalore

I did my bit by patiently standing in queue for about forty minutes before realizing there was a separate, significantly less-crowded entrance for media! Once in, the show kicked off earlier than expected. Bangalore’s very own Inner Sanctum kicked off proceedings with ‘Human Disregard’ off their debut EP Provenance. The sizeable crowd inside the venue was matched in number by scores of black-tee-clad-people who were patiently waiting outside in queue to enter the concert area. I stood close to the stage and could feel the thump of the bass drum on the side of my face. Sanctum was THAT loud. Their new song ‘Guardian’ followed the concert-staple ‘Agent of Chaos’ as Sanctum ended their abridged set with vocalist Gaurav throwing t-shirts into the crowd. The new-look Sanctum (Suraj on guitars is relatively new and Narayan was filling in for Michael on bass) had yet again raised the bar for Indian metal bands with their combination of technical skill and energy on stage.

There was a steady stream of people trickling in as Nikhil Chinappa dressed in a faux-rock outfit, appeared on stage to introduce the next opening act – Guillotine. He was warmly greeted with a sea of middle-fingers and “f**k you” chants! Since they also hail from Delhi, it prompted a tongue-in-cheek “Delhi Sucks” chorus from the audience, the Gurgaon no-show still fresh in memory. Sadly, Guillotine sounded very flat on the day. Their own-comps were a pointless mish-mash of many genres and to add to the band’s misery, guitarist Takar broke a string during a song. Inevitable FTN comparisons were made as the patient crowd could only muster a lukewarm applause when the band finally finished their set.

Metallica at Palace Grounds,Bangalore

Once Guillotine wrapped up, the concert crew set to work on readying the stage for the international bands to perform. Scottish alt-rock act Biffy Clyro‘s soundcheck took almost an hour to complete as the crowd stood expectantly in the pouring rain. It was getting increasingly difficult to stand or walk about at the venue owing to the annoying slush. I wasn’t sure what to expect when Biffy finally appeared on stage. The three-piece band hailing from Kilmanrock did have a unique sound but it wasn’t something that would whet one’s appetite for some Metallica. Most of their songs bordered on emo-ish indie rock although they did have some riff-y moments. Admittedly, I phased out for most of Biffy’s set, choosing instead to loudly crack Metallica PJ’s much to the annoyance of everyone around me. At this juncture everybody was on tenterhooks, eagerly awaiting Metallica’s appearance on stage. The slightest hint of  sound emanating from the stage during the subsequent sound check- a stray guitar clang, a low-end bass note or a snare hit were all cheered excitedly by the hungry crowd. Fans even took to singing along with the recorded music that blared through the PA system. The rain had subsided and much to everyone’s annoyance a roadie was giving the patient crowd lessons on safety. But at roughly ten minutes past eight, a thousand hearts unanimously skipped a beat.

The LED screens to the right of the massive stage played a clip from the iconic western – The Good, The Bad and the Ugly whilst Ennio Morricone’s ‘Ecstasy of Gold’ played out in the background. And then…the epic intro riff to ‘Creeping Death’. That was it. The crowd got their first glimpse of their heroes and went absolutely berserk. This was the moment everyone had waited for. Hell, up until the day of the show there was a certain apprehension as to whether the Bangalore gig would even happen. Even during the opening bands’ performances we were informed that the show would only happen if all the safety arrangements were in place. All the apprehension and uneasiness was lifted off our shoulders in an instant as we saw and heard Metallica. Live for the first time in India!

Metallica at Palace Grounds,Bangalore

They carried forward the energy of ‘Creeping Death’ into ‘For Whom the Bell Tolls’. A good chunk of the elated crowd sang along to the chorus and chanted “Die! Die! Die!” with fists raised in the air. Astonishingly, Hetfield’s vocals sounded exactly like the studio versions of the songs. The last few bars of ‘For Whom…‘ gave way to ‘Fuel’ and I’m certain that a few heads exploded thanks to the sheer awesomeness of the moment. The pyrotechnics on stage lit up just as the “Gimme Fuel Gimme Fire” lyrics were heard. People around me were flashing texts on their phones with the probable setlist and were trying to second-guess the next song. Hetfield then asked the crowd if they liked the vintage stuff just as the ‘Ride the Lightning’ opening riff drowned out the crowd’s cheers. The live version managed to capture the sense of maddening paranoia of the studio version even though the tempo seemed a tad slowed down. Lars Ulrich and Rob Trujillo provided the solid rhythm section to Hetfield’s riffing and Hammett’s solos. Hammett teased the crowd with a solo that was the lead-in to ‘Fade to Black’. Hetfield, with only his silhouette seen against the backdrop of the giant LED stood on the upper tier of the stage while the rest of the band thrashed it out below. They then played ‘Cyanide’ from their latest album Death Magnetic (after Hetfield asked the crowd for permission to do so!) before playing the iconic ‘Memory Remains’. You would be hard-pressed to find an audience in the world who would sing the outro for a minute after the song was over but Bangalore did just that. Hetfield and Co. stood at the precipice of the stage and just soaked it all in, conducting everyone to keep it going. 40,000 fans sang in unison even after the music had stopped. The moment cannot possibly be described in words, the closest description I can come up with – perfect.

Metallica at Palace Grounds,Bangalore

Metallica’s newer work has been criticized in some circles but when played live it is a different beast altogether. The eight minute epic ‘All Nightmare Long’, one of their heaviest tracks to date, was played with ease. It didn’t escape my attention that most people weren’t too familiar with the newer tracks and chose to record the spectacle on their phone cameras instead. Helicopter and airplane dubs playing over the PA meant only one thing- the anti-war song (and my personal favourite) ‘One’. My trance-like state was mildly disturbed when everyone around me jumped up and down, devil’s horns held up in the air. ‘Master of Puppets’. That genius, Hetfield even did the evil laugh in the song much to everyone’s delight. People had travelled from far-flung corners of the country to witness this event and it lived up to all of their expectations and more. People clutched their foreheads in disbelief at what they were witnessing. Hetfield, clearly overwhelmed at the fantastic response thanked the audience before launching into ‘Blackened’ after which the lights dimmed for ‘Nothing Else Matters’. Words cannot do justice to how powerful their performance of this anthem was. It might sound repetitive when I mention 40,000 people singing in unison, but I can’t word it differently – it was precisely that! They closed their unbelievably good setlist with ‘Enter Sandman’. Scores of already-hoarse, nostalgic teens and young adults headbanged as fireworks went off above the stage. The stage was obscured by a sea of devil’s horns and whiplashing necks. This was as good as any climax can get.

Metallica at Palace Grounds,Bangalore

Metallica reappeared on stage for their encore and began with a cover of Diamond Head’s ‘Am i Evil’ (Did anyone spot the intro riff to ‘Frayed Ends of Sanity’ just before it?) The pummeling riffs of ‘Battery’ soon followed. For a band that has been around for 30 years there was absolutely no dip in the energy level. Every song was a tour de force that had a vibe that united everyone present there – they were a part of something special. They ended their set with ‘Seek and Destroy’ from their debut album Kill ’em All. The band members individually thanked the people present and Ulrich promised to come back to India for a gig in the future. Plectrums were generously flung into the crowd and so were drumsticks. Heck, even a policeman managed to get one!

While walking out of the packed venue, I heard a few people complain about Hammett flubbing a couple of solos and about the band not being as tight as they should have. Complaints about the organization and the security at the venue also echoed. But the concert had a greater significance in the grand scheme of things for such glitches to matter. For years now, there have been several untrue rumours about the possibility of Metallica touring India and when it finally happened it left an indelible mark on the metal fans of the country who had waited twenty long years (or more) for this opportunity. All the hype surrounding the event was justified as Metallica brought along a killer setlist and oodles of energy and badass-ness to Bangalore. If a future tour does indeed happen, splendid! If it doesn’t, the memory remains.

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Sohan Maheshwar

Jack of all tirades, total shirk-off. Follow Sohan on twitter! @soganmageshwar

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Stratisfaction

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In the day and age of death metal, we often find ourselves staring at tattooed guitarists wielding Super-strats loaded with a combination of Emg pickups and the Floyd Rose Bridge, but what in heaven’s name has happened to the good old Strat? If you walk into a guitar store you will notice people toying with a plethora of guitars: The Ibanez’s, The Schechter’s, The Esps seem to be favored by guitarists these days. If you talk about a good old Strat, people frown. Have we forgotten the value of a Stratocaster? From Guitar-God Hendrix to Clapton to Gilmour, everyone has used the Strat. In Clapton’s case he switched from a Les Paul to a Strat!

The Fender Stratocaster has been the single most copied guitar in history. All the Japanese manufacturers came to the spotlight in the 70s because of their ability to make high quality knock-offs while the CBS owned Fender itself was struggling with quality issues. Why do we call a guitar with a double cut away and a dual humbucker combination a ‘Superstrat’? The answer is: its design was stolen from the Strat. These guitars combined the comfort of the Stratocaster with the power of the dual humbucker combination. At that time, people were looking for more power but the single coils were either too weak or too noisy so they pumped it up with humbuckers.

Some of the notable inventions of Leo Fenders magnum opus were the tremolo system, which according to me is still way better than the Floyd Rose locking trems. In my honest opinion, the Floyd Rose is only good at sucking the sweet tone from your guitar! All our modern guitar heroes like Slash, Tom Morello, Kirk Hammett come from a generation of guitar heroes wielding a Strat. The reason people don’t buy Strats these days is probably because they feel it is “not cool”. They don’t have a logical, sonic justification for not using one. Heck, the guys from Iron Maiden use Strats! With modern pickup technology, one can have the power in a single coil package along with the pureness of a clear single coil tone. Doubters must check out the Eric Clapton signature model. With the in build mid- boost circuitry it pumps out a level of gain which eclipses the EMGs of this world by a mile! People think if they own a Jackson RR3 its cool.

For me, the Fender Stratocaster isn’t the single most important instrument in rock history, it is also the coolest one. From the violin-like tone of Eric Johnson’s Strat to the Dreamy echo of Gilmour’s Strat to the Fuzz laden mayhem of Hendrix’s Strat , no other guitar has influenced the destiny of Rock music. From insanely vintage Strats of the 50s to the modern Shred machines such as Yniwe Malmseem’s, the Stratocaster rules the field; not even the great Les Paul manages to match the legend of the Stratocaster.

One often overlooks the curvaceous craftsmanship of a 50s Strat which is still continued in the modern American models. There is no cooler guitar than a completely worn out Strat; remember the little guy from Ireland whom Jimi Hendrix rated as the greatest guitar player on the planet? I’m talking about Rory Gallagher. Coming to modern players, the sight of John Mayer playing his worn out Strat is just iconic and people say wielding a Flying V is cool.

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Sahil Mohan Gupta

Sahil, the byline may read, but they call him ‘Bones’ because of his undying love for Star Trek. Sahil is a crazy tech journalist at BGR.in, who also happens to be a blues guitarist and a sound engineer based out of Delhi. Oh, and he also has 14 dogs!

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