I reckon they make double-bucker guitars that would fulfill that, and I know there's double bucker Strats but I think there's a reason you don't see too many of those.
I'm wondering what kind of tone wood would do the trick. I would go so far as to build one to get what I'm after... i.e. a kit from Warmoth or even have something built from scratch by a luthier. If I'm not mistaken, Kirk Hammet's guitar is made of western maple (yeah? no?) as opposed to mahogany, the latter being the norm for metal. He seems to have a really bright, cutting, teeth-grinding high-end tone and I've always really liked it (even though Metallica began sucking for me shortly after I realized that the Black Album was such a disappointing departure from what made them gods... yeah, I know, I know....), as opposed to the usual low and grumbly "chunka chunka chunka" of most guitars that are built for the hard stuff (which seem to invariably be constructed of mahogony, both neck and body).
What about walnut or some other oddball tone wood? My five-string fretless bass is made of walnut (and has a maple neck) because it was built to be brighter and louder than a fretless would normally be; the string spacing is more narrow because it's meant for aggressively/fastly working chords and harmonics so that you can closely follow someone working a double pedal on a fusion bass drum. Also, it was meant to have thick jazz strings, but I replaced them with mid-weight D'Addario nickelwounds. It got a good bit brighter and heavier but it can be quite ringy so I have to really tweak the knobs just right.
By contrast, the average fretless sometimes has wide spacing almost like an upright (and 5-stringers are much rarer than their fretted counterparts; I've never encountered one that was six strings or above though I know of companies that will make them to order), and is (ideally) made of swamp ash with a wenge neck to counterbalance the brightness of an ebony fretboard (ebony is usually necessary or else you'll lose a lot of clarity; I've seen a British company who made fretless guitars, and the fingerboards had to be made out of some weird brass/steel alloy).
I'm guessing ash and alder are for the more straight-ahead bluesy/musical/subtle/progressive type tones as opposed to anything extreme, grumbly, or biting.
Any particular tube amp? I've often wondered what the difference is when it comes to watts. How different is a 50 watt Marshall head from one of those 350 watt 'Mode Four' Marshall heads? I'm rather confused; I would imagine that more watts = more oomph (kinda like horsepower or cubic inches with an engine), but then I've read about famous guitarists with amazing boot-to-the-diagphram tone who were playing out of something with a 50 watt head or something. Needless to say, I'm definitely not an electrician or a sound tech. :confused: What's the deal there?
Also, I'm wondering about effects. If I'm not mistaken, the "Death Metal Pedal" apparently has a setting for solo/lead work that's supposed to be ultra-trebly and absolutely ear-splitting. Might that do the trick? Or would I need something else instead of or in addition to it?
Finally, I prefer thick strings. I use a hard pick and also like to use fingerstyle, and use an aluminum slide at times. But I wouldn't want my tone to get overly warm because of that. I've always been under the impression that really thick strings are for warm jazzy sounding stuff, or ultra-low chunka chunka Zakk Wylde type stuff. I've been told that Zakk's signature strings are so thick and heavy that they'll ruin anything short of a neck-through guitar.