How a New Orleans guitarist evolved from punk roots to sludge metal royalty
In short: Before defining the sludge metal sound with Crowbar, Kirk Windstein navigated a turbulent musical evolution. From playing Judas Priest covers in a local band to forming heavy metal supergroups, his career is a testament to stylistic persistence and the enduring power of the New Orleans heavy music scene.
Born on April 14, 1965, Kirk Windstein’s musical journey began in the mid-1980s. He first entered the scene in 1985 as a guitarist for the cover band Victorian Blitz, performing renditions of songs by artists like Judas Priest and WASP. By 1988, he had transitioned into the hardcore punk scene, joining the New Orleans band Shell Shock as both a vocalist and guitarist.
The transition from Shell Shock to the world-renowned Crowbar was marked by significant upheaval. Following the suicide of guitarist Mike Hatch during the recording of the album 'No Tomorrow', the band underwent several identity shifts. They briefly operated as Aftershock, then Wrequiem, and The Slugs before finally rebranding as Crowbar in mid-1991. This evolution saw the band move away from straightforward hardcore punk toward a sound that blended primitive attack with blistering speed.
Windstein's influence extended far beyond Crowbar. He was a founding member of the heavy metal supergroup Down, performing with them from 1991 to 2013, before rejoining the group in 2020. In 2005, he also formed Kingdom of Sorrow with Jamey Jasta of Hatebreed, releasing a self-titled debut in 2008 that reached number 131 on the US Billboard charts. Throughout his career, Windstein has remained the sole constant member of Crowbar, maintaining a prolific output that includes recent releases like 'Zero and Below' in March 2022.
His technical signature is equally distinct. For his Down tours in 2007, his rig utilized Marshall 1960B 4×12 cabinets and a 100-watt JCM800 2203X head. His guitar work is characterized by specific tunings, often playing 1 1/2 steps down from standard, utilizing configurations such as C–F–B–E–G–C or a 'drop B' tuning of B–F–B–E–G–C.
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- Summary by Intellect · source: Kirk Windstein
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