KORN - Untitled

Band Members
Jonathan Davis - Vocals
James Shaffer - Guitar
Reginald Arvizu - Bass
David Silveria - Drums


In the song ‘Evolution,” Jonathan Davis lyrically speaks to mankind’s distinct lack of evolution--while the entity known as Korn has made amazing progress since their self-titled 1994 debut. That growth is evident on the 13 tracks populating Korn’s untitled, eighth studio album. The follow-up to 2005’s multi-platinum See You On The Other Side, Korn’s latest, Davis says, is “about us growing up and our minds opening up more. We weren’t necessarily worried about ‘oh, is this too poppy? Or too this or that? We started thinking that way when ‘Got The Life’ came out and we thought, ‘oh, we can’t put this out, it’s got a disco beat and it’s too dancey.’ It made us scared. But that’s something we like doing,” he emphasizes. “If we do a song and put it out and we’re not scared about it, I guess we’re not doing it right, because we always want to evolve, experiment and change.” Further proof of that credo? The lack of an album title. “This album felt like it didn’t need to have a title or boundaries,” Davis says. “We thought it would be cooler for fans. Metallica had a Black album, the Beatles had a White album, and Peter Gabriel put out a bunch of albums he didn’t title. We’re throwing it out there and letting people use their minds and imaginations.” The experimentation, change and growth doesn’t stop there. Guitarist Brian “Head” Welch left the band in 2005, and drummer David Silveria has been on a hiatus from Korn since 2006. Davis notes: “The dynamics and chemistry have of course changed, and it’s reflected musically and creatively on this album. Munky has done an amazing job taking on all the guitar duties; he’s really grown as a player. We’ve all had to step it up, and the core of us--me, Fieldy and Munk--we share a passion. I don’t think we’d be alive if we didn’t have our music and weren’t able to do this.” In 2007, that passion is channeled into the making and release of the band’s triumphant untitled album and the 2007 FAMILY VALUES TOUR which last year sold close to 500,000 tickets. The groundbreaking festival was founded in 1998 by Korn and management company the Firm. Korn, who have sold more than 25 million records worldwide and earned six Grammy nods and two wins to date, have upped the ante with each successive record and project, always innovators in the use of media, fan interaction, collaborations, business models, and most importantly, music. On the untitled album, produced by innovative British programmer/remixer Atticus Ross with The Matrix also taking production credit on 4 of the album’s key tracks, band favorites include “Starting Over,” “Hold On,” and “Innocent Bystander.” Shaffer notes, “Musically, I feel our last record was songs we wrote and put on an album, whereas this time it’s much more cohesive; you have to listen to the whole thing for it to tell the story.” From the record’s “Intro,” the tone is set—the creepy demented circus-influenced ditty portends what’s to come, which includes the primal industrial power of “Starting Over,” which is balanced with the song’s haunting bridge section and beefy bottom end. With ambient touches, cool melodies and the return of Davis’ bagpipes, Korn’s newest may be its most dynamic and experimental effort. Of course, that’s not unexpected, coming off the heels of the MTV Unplugged: Korn release, which debuted Top 10 in the Billboard 200 in March, 2007. Since the band’s inception Davis has been venerated for his visceral personal tales, and on the new untitled album, he does not disappoint. “Innocent Bystander” is self-referential, as he sings, “I’m a spectator/the motivator.” Davis explains: On the road, he is (and has been for several years) completely sober, but that said, he laughs, “I love to pour drinks, roll joints, do whatever to get the party started. But I am now the ‘innocent bystander.’” “Innocent Bystander,” with its raw, taut musicality and insinuating riffs, even contains a Korn first—a guitar solo. Then there’s a song that’s in the signature Korn style, “Hold On,” which takes its cue from death metal, a genre that Davis loves. That commanding, aggro vibe of the dramatic and epic “Hold On” was achieved with the help of one of the three drummers on Korn’s latest album: Terry Bozzio (Frank Zappa, Missing Persons), Brooks Wackerman (Bad Religion, Suicidal Tendencies) and even one Mr. Jonathan Davis, in his first recorded drumming since Issues. Bozzio is on “Hold On,” and Davis raves, “Terry has gotta be the best drummer in the world; he brought a more progressive feel to the band. His drum kit was huge, and all the colors and sounds he made pushed our music in different directions we might not ever have thought about going.” Adds Fieldy, “The drums are amazing on this new album; you get a big variety instead of just one drummer doing the same style throughout.” Playing live drums for Korn on tour is another stellar player—Slipknot’s Joey Jordison, who jumped at the chance to tour with a band he cites as one of his main musical influences Rounding out Korn’s touring line up is Clint Lowery of Sevendust on guitar and keyboardist Zac Baird. In addition to Zac being on the road with the band since 2005, he played keyboards and took on writing chores for the new album. With all the successful and liberating change evident on the untitled record, one thing remains constant: Davis does not shy away from exploring his anger, inner life and the painful closeness between love/hate, which made the singer both famous and infamous thanks to songs like “Daddy,” “Shoots and “Ladders” and “Hollow Life.” On the untitled CD, the songs “‘Ever Be’ and ‘Love and Luxury’ “are me, venting about our ex guitar player. I didn’t get it all out on the last record!” Davis laughs. “This is the last time I’ll write about it, and I love the guy; I’m glad he’s happy and doing his thing.” “Evolution,” a grooving, heavy and strong representative kick-off for the album, is the first single. Musically, Davis says, “I wanted to stay away as much as possible from just beating on cymbals, which just make this crazy white noise over the music, and you can’t really hear what's going on. Lyrically, ‘Evolution’ is about us as a human race, who has basically not evolved since monkeys. If you look back and compare us, animals and humans are pretty much the same.” An apt analogy is also drawn in “Killing.” “A bird on a wire, you have a gun pointed at it, but it sits there and stares at you. The same goes for people--we like to take abuse, that’s our human nature, our trained response. Anything horrible happens to us, we’re preset to reset to dumb.” Another intensely personal track is “Starting Over,” which was inspired by Davis’ near-death experience with ITP, a blood disease that struck the frontman while on tour in Europe. In their 14 years of togetherness, the L.A.-based lineup has both survived and thrived, and the songs on the untitled record are rife with detritus of decadence and lessons learned. That fervor and authenticity is felt and appreciated by both fans and peers, Korn’s groundbreaking sound spawned a plethora of imitators. But the fans know where it began, and show their loyalty. “Now we have a new generation of young kids at our shows,” observes Davis. “When we started, most of our fans were 14, 15, and now they’re lawyers and doctors who are bringing their kids. We’re transcending generations. It’s cool.” And Korn will not disappoint. On the 2007 FAMILY VALUES TOUR, the band serves up its biggest stage show ever, and in the set list are songs they haven’t performed in 10 years. “It’s definitely different for us. Fans are going to be very happy,” believes Davis. “The statement Korn wanted to make with this record and tour was, ‘yes we're down three members, but we're still very creative and still love making music.’ We're so happy to be doing this 14 years later. This is our eighth studio album, but eleventh release overall. [And eight of those releases sold platinum or platinum-plus]. What a career, and we don't see any end coming soon! I measure my success by challenging myself and seeing if I can help take Korn to new levels,” Davis concludes. “If we wrote the same records over and over but were still commercially successful, I would consider that a personal failure.”

EVANESCENCE

EVANESCENCE












Evanescence has sold nearly 18 million albums worldwide to date. Following their major-label debut Fallen, Evanescence continues their meteoric rise with their CD, The Open Door (Wind-up Records), which was released on October 3. The album from the two-time Grammy-winning band is defined by Amy Lee's beautiful melodies, compelling lyrics, poignant piano and stunning vocals, fused with Terry Balsamo's urgent, yet intricate guitar, to form a seamless, ethereal mixture that perfectly channels the band's hard rock and classical sensibilities. The contributions of members John LeCompt (guitar) and Rocky Gray (drums) are also evident.
"Making this record has been really intense," explains Lee. "Terry suffered a stroke last October and is still recovering, we got a new manager [Andy Lurie], and I've come out of a difficult breakup. But everything we've been through together has benefited this album." With Fallen, says Lee, the band had much to prove while defining its identity. This time, finding a cohesive writing partner in Terry Balsamo, "we really took our time crafting this album and had the freedom to express a broader range of emotions: not just pain and sadness, but also anger and, yes, even happiness."
Written late last year, The Open Door was recorded at The Record Plant in Los Angeles and mixed at Ocean Way Studios in March 2006. Marking the return of long-time friend and producer Dave Fortman, the album's musical elements include a classically-infused choir and strings on several tracks, giving further color to songs of introspection, longing, doubt, self-respect and, ultimately, empowerment. The album opens with "Sweet Sacrifice," a post-relationship catharsis that head-dives from an otherworldly intro into a hard-driving thrash of hard rock guitars and soaring rock vocals. Its first single, the mid-tempo "Call Me When You're Sober," reinforces the moving-away-from-dysfunction theme.
Other standout tracks on The Open Door include "Lithium," which embraces feeling over numbness, "All That I'm Living For," Lee's tribute to band life, "Weight of the World," her plea for perspective from the expectation of young fans, and "Good Enough," a string-and-choir-infused closer distinguished as the band's first truly (almost) contented song ("It feels really good ending the album this way," says Lee). Having toured for a year-and-a-half straight with only a month off following the release of Fallen, Evanescence hopes to hit the road this time out with a care not to neglect key markets worldwide. Its U.S. tour begins immediately after the October 3rd release of The Open Door, rewarding hardcore fans with a "sneak peak" of the album during a handful of more intimate theater dates before segueing into much larger arena shows.
Originally hailing from Little Rock, Arkansas, the band's evolving sound - a nearly mystical marriage between rock, goth and classical - was informed by a curious duality. Lee, who spent nine years studying classical piano, explains, "When I was in high school I listened to a lot of heavy bands and dark classical music. Both genres are intricate, complex types of music that are very dramatic, and I'm naturally drawn to that."
Evanescence self-released two EPs and a first full-length album, the much-sought-after Origin, before finding a home at Wind-up Records. Fallen, their major-label debut, was released in April 2003 to critical and commercial success. The internationally appealing Top 10 singles "Bring Me to Life" and "My Immortal" helped drive airplay and led to two 2003 Grammy Awards (Best New Artist and Best Hard Rock Performance for "Bring Me To Life"). Propelling the band to sales of nearly 14 million albums worldwide, Fallen spent more than 100 weeks on Billboard's Top 200 chart, was certified gold or platinum in over 35 countries, and sold out arenas globally. Anywhere But Home, their 2004 live DVD release, has sold over one million copies to date.
The inherent drama in Evanescence's music - a kind of audio odyssey that can turn on a dime from piano-led introspection to hammering guitar - has resonated with listeners everywhere. The band's aggressive core finds a counterpart in Lee's passionate vocals, lyrics that forge a connection with audiences searching for identity or struggling with feelings of desire, hope love and loss. The Open Door is a logical (but certainly not predictable) transformation of epic proportions for the band, which, in many ways has only just begun to make its mark on the music world.
For more information on Evanescence, please visit

STONESOUR - Come What(ever) May

Members:

Corey Taylor - vocals

James Root - guitar

Josh Rand - guitar

Shawn Economaki - bass

Roy Mayorga - drums

“The intensity. The drama. The emotion. The colors. The darkness. The melodies. The anger. The honesty. The drive. The new. All of the above and more.” According to Stone Sour frontman Corey Taylor, those are the things that define Stone Sour’s passionately pulsing second album, Come What(ever) May (Roadrunner). Stone Sour’s first album in four years finds the band firing on all cylinders, and primed to capture the attention and the hearts of the rock ‘n roll masses.Stone Sour’s self-titled debut was twice Grammy-nominated and RIAA Certified Gold. It was an eclectic album, propelled by the band’s busy tour schedule, the contemplative smash single “Bother,” and a series of groovy, melodic metal numbers. In 2002 and 2003, Stone Sour established itself as a multi-faceted hard rock force of nature.While Taylor is one of the most recognized figures in rock music, thanks to his role as the frontman for Slipknot, a Grammy winning, multi-platinum act, Stone Sour is anything but a side project. It’s a full-time band that all members are fiercely dedicated to. Taylor spent much of 2004 and 2005 supporting his other band, but will spend 2006 and 2007 focusing on Stone Sour and Come What(ever) May. Also comprised by guitarist James Root, who does double duty in Slipknot, bassist Shawn Economaki, guitarist Josh Rand and new drummer Roy Mayorga, Stone Sour is armed with an album that expands beyond the palette of its predecessor. The band was afforded more time to craft songs, and it shows. The album, produced by Nick Raskulinecz (Foo Fighters, Velvet Revolver), is tight, crisp, and full of rowdy rockers and melodic numbers.“With Stone Sour, I loosen up and show more of myself,” Taylor reveals. “As soon as the fans hear this new record, they’ll see it’s different than anything that we have ever done. It gives me a chance to do the singing that I love to do, the type of singing that I do when I’m walking around my house.” Taylor, a self-described extrovert, may be the mouthpiece for Stone Sour, but he insists the band is a truly collaborative effort, and that’s something he thoroughly enjoys. “I’ve been able to blend into the background if needed, you know? You grow up thinking being recognized all the time will be sweet, but sometimes you just want to be one of the guys. I think I balance it fairly well, without killing people.”Guitarist Josh Rand, who ran 3-5 miles a day during the recording process to clear his mind for each day’s highly creative atmosphere, believes that the diversity of Come What(ever) May, which features guest appearances from The Wallflowers’ Rami Jaffee and Godsmack drummer Shannon Larkin, will be what hooks fans, and what keeps them. “This album’s content will fit any mood you may be in,” the guitarist says. “If you’ve had a shitty day at work, you could crank ‘Hell And Consequences.’ If you need a little optimism, you could listen to ‘Through Glass.’ If you are feeling depressed, you could listen to ‘Zzyzx Road.’”Obviously, Come What(ever) May is a sensory experience, encompassing a wide spectrum of emotions. “30/30-150” and “Reborn” are bruisers that’ll get the blood coursing through listeners’ veins, while the first single, “Through Glass,” takes up real estate in your brain for days at a time, thanks its unforgettable melodic twists and chorus. Try and purge your brain of Come What(ever) May’s melodies, and you’ll fail miserably. Taylor concurs, “So many bands are so genre-specific these days. No bands cover the middle ground. If they try, it’s lifeless and limp. Our album has such a pulse. The cool thing is that when we write stuff, it turns out catchy whether we want it to or not. It’s just something that we do.” He’s right. Crafting melody and mixing it with metallic maelstrom is definitely something that Stone Sour does better than most.Jim Root, who contends that “life” itself influenced this album and who claims he consumed nerve-shattering, tooth-staining amounts of coffee during the recording process, sees Come What(ever) May as a necessary evolution in the band’s sound.

“We’re taking every aspect to the next level. As an artist, no matter what you do, you must evolve. That’s very important to me. Some people fear change. I embrace it. This record is a testament to where I am at, musically and spiritually. Life is a learning experience and so is song writing. As with everything I try to improve. I can sit back and listen to these songs and know that I have.”Taylor understands that as his career goes on, he will be less and less understood and he likes it that way. “I’ve lost a little sleep over the fact that people don’t get what I do and how I do it. I do everything I can to entertain, educate and infuriate the status quo. If I give the mainstream a headache once in a while, that works for me.” It’s that attitude that attracts the disaffected youth, the kids, the anti-conservative thinker, as well as the casual rock fan to Stone Sour. “I have a conscience,” Taylor says about his songwriting style. “I have a respect for the music and I have an agenda. I have an individualistic mind to botch the ‘product’ mentality, and I am not out to further myself in a spotlight that knows no favorites. This could all be gone tomorrow. If all you’re doing is trying to build your Q points, what are you going to do when no one wants to see you anymore? At least I’ll be happy about the music I left behind.”The songs and music on Come What(ever) May ensure that Stone Sour’s legacy will endure for a long time to come.

SUFFOCATION

SUFFOCATION

For all their imitators over the years, this quintet remains unmatched" - ALLMUSIC GUIDE "death metal demolitionists" - MTV.com

"One of death metal's most often plagiarized acts." - from the forthcoming Feral House book Choosing Death: The Improbable History of Death Metal and Grindcore (Fall, 2004)Relapse Records is proud to bring you the new release from death metal legends SUFFOCATION, entitled Souls To Deny. SUFFOCATION, (Frank Mullen - vocals, Terrance Hobbs - guitar, Guy Marchais - guitar, Derek Boyer - bass, Mike Smith - drums) one of the most influential and emulated bands in the history of extreme music and the pioneers of the now-infamous 'New York death metal sound', return to the Relapse label after releasing the now classic albums Effigy Of The Forgotten (1991), Breeding The Spawn (1993), and Pierced From Within (1995) via Roadrunner Records.In death metal history, Suffocation stands unique for fusing the technical with the percussive, brutal "older" styles of death metal as well as for being emulated more than any other band. Previous to SUFFOCATION's formation, death metal used simple structures and repetitive, percussive beats ending in extremely recognizable resolutions to sound heavy and dark, but was often shunned by metal audiences as "too rudimentary and redundant". Suffocation integrated the heavier styles of death metal with the muffled strumming and downstroke rhythms of speed metal while introducing far more complex rhythms, a variety of influences, and bizarre, mocking lead guitar. Suffocation's approach was to meld the emotions of hardcore and extreme avantgarde metal into a contexture of intricate conflicting structures through absorption of both to form the ultimate in pummeling, concrete, functional rhythms.After forming in 1990, SUFFOCATION quickly released their 3-song debut Reincremation. Within weeks of its existence came the interest of many labels who wanted to claim stake to the next SUFFOCATION album. The band chose to release it's follow-up, Human Waste through Relapse Records in 1991. Complex and unrelentingly savage, Human Waste saw Suffocation bash out the beginnings of death metal's most visible style, the "New York" combination of blasting grindcore beats and metallic textures. This was only but the beginning...The now classic, Effigy of the Forgotten was released in 1991 via Roadrunner Records. Effigy... took the rhythmic relentlessness of hardcore beats, put them into speed metal structures and overlaid off-time counterpoint structures. Effigy of the Forgotten took SUFFOCATION's intent to a new plane, taking the multiple languages of music and unifying them in an evocative, thundering chorus of death metal.Bassist, Josh Barohn was replaced by Chris Richards for the following album, 1993's Breeding The Spawn. Thunderously heavy and rigorously artistic, Breeding The Spawn surpassed expectations. Highly rhythmic, Suffocation's second album built on the legacy of their first with more emphasis on the bearing weight of repeated changing / off time rhythms (see later day practitioners MESHUGGAH) and a SLAYER-derived sense of melody. The guttural vocal expansion of vocalist Frank Mullen perfectly complimented the creative lead work from Cerritos and Hobbs. After the release of Breeding..., SUFFOCATION hit the road for months on end in support of the release, bringing their jaw-dropping live performances to both their devoted legions of followers, and hordes of wide-eyed new devotees.In 1994, drummer Mike Smith left Suffocation and was replaced by drummer Doug Bohn. This new line-up featured on the 1994 live album, Live Death.Following the release of 1995's Pierced From Within, SUFFOCATION embarked on successful tours of Europe, Canada, Mexico, and the United States, playing to thousands and enjoying increased album sales. After these tours, drummer Doug Bohn was replaced by former Malevolent Creation drummer Dave Culross.In 1998, Suffocation once again hooked up with legendary producer / engineer Scott Burns for the recording of the EP, Despise the Sun. Released on micro-indie Vulture Records, Despise the Sun contained SUFFOCATION's most accomplished material to date, the band comfortable enough in their style to develop it to a muscular prime. A savage example of pounding death metal, Despise the Sun utilized contrapuntal structures in recursive patterns to produce its effect - engaging, energetic and insightful death metal with no letup in intensity.Despite Despise the Sun's powerful testament to artistic process and death metal design, the EP suffered from the lack of both availability and awareness that its small issuer would provide. In September, 2000, Relapse stepped in and reissued Despise..., the increased awareness and exposure led many to believe that SUFFOCATION were ready to reclaim their rightful place atop death / extreme metal's hierarchy that their self-imposed three year layoff had nearly compromised. But conflicts within the band forced Suffocation to disband soon after.In early 2002, rumors of a SUFFOCATION 'reunion' began to surface and the death metal world was immediately abuzz with the possibility. SUFFOCATION confirmedtheir intentions soon afterwards and with a line-up of Mike Smith (drums), Terrance Hobbs (guitar), Guy Marchais (guitar), Frank Mullen (vocals), and Derek Boyer (bass), the band resumed writing and rehearsals and announced that they were back to stay and ready to deliver once again.Immediately upon the announcement, SUFFOCATION headlined the sold-out 2003 installments of the New England Metal and Hardcore Festival, Maryland Deathfest and Milwaukee Metalfest(s) to a rousing response. In June, 2003, the band unveiled a brand new song entitled "Deceit". The as-then-unsigned band's video for "Deceit" made its world-premier on FUSE's "Uranium" program, and, as a testament to their universally-recognized impact on the genre, SUFFOCATION was profiled on both "Uranium" and MTV2's "Headbangers Ball" recently without the influence of label backing.The wildly influential band entered New York's Full Force Studios with engineer Joe Cincotta in Winter, 2003 to begin recording their first full album of new material since Pierced From Within, entitled Souls to Deny.SUFFOCATION return with Souls to Deny, their first full length album in nearly a decade and first full length album for Relapse Records. Masterfully controlled yet frighteningly intense, Souls to Deny is a truly devastating display of technical death metal. Maniacally complex lead and rhythm guitar acrobatics intermix with dizzyingly proficient drum work, creating complex, savage riff collages. Containing the songs "Deceit", "To Weep Once More" , "Souls to Deny", "Surgery of Impalement", "Demise of the Clone", "Subconsciously Enslaved", "Immortally Condemned" and "Tomes of Atrimony", Souls to Deny is set for a late April, 2004 release date. Crushing brutality from the masters!! 300+ shows and countless US and European tours later ,SUFFOCATION has once again entered NY's FullForce Studios with their fulltime live soundman and engineer Joe Cincotta to release upon the World the most matured and destructive album of their now Legendary career .The self titled 2006 release "SUFFOCATION" further propels the band to the forefront of the Death metal genre proving why Suffocation has solidly held its position as one of the most important and influential bands the Death metal genre has seen to date.In September Suffocation along with the services of Video director Dale Resteghini completed their first video in support of the New album. The video for the song ABOMINATION REBORN will debut on MTV HEADBANGERS BALL in early October, just prior to the start of their 7 week Fall US tour with Fear Factory,Hypocrisy and Decapitated.Most American death metal painted itself into a corner years ago, but SUFFOCATION, through musicality, inventiveness, and sheer conviction, have found a hundred little ways to push the envelope and inject personality into its reeking cadaver. "Suffocation", the album, is a multi-dimensional death metal feast that never forgets its primary mission to beat the listener into submission. In December 2006 Suffocation made its second guest appearance on MTV2's Headbangers Ball. Drummer Mike Smith visited with Headbangers Ball Host and Hatebreed Frontman Jamey Jasta In support of the new album and to debut the bands latest Video "ABOMINATION REBORN". In January 2007 Suffocation was approached and hired by the Cable Network A&E and the History channel to be the band to represent a new A&E show called the "Dark Ages" a show that depicts the the way of life that existed amongst the warriors of the Dark Ages, Thankfully Suffocation and the Death Metal Genre were chosen to represent the feel and intensity that existed at that time in history. The DARK AGES episode is scheduled to air in March 2007. The promo commercial that the band performed in is airing in over 700 movie theatres throughout the country as well as on the popular cable network channels VH!, MTV and MTV2. This is just one more opportunity Suffocation has been fortunate enough to be involved in on our quest to represent and help further the success of the underground Death Metal Genre.

DEATH - The Sound of Perseverance (1998)

Early History (1983-1987)
Founded in 1983 by Chuck Schuldiner under the original name of Mantas in Orlando, Death were among the more widely known, early pioneers of the death metal sound along with fellow Florida band Morbid Angel. In the late 80s, the band was both a part of and integral in defining the death metal scene which gained international recognition with the release of albums by a number of area acts.
Together with Kam Lee (Barney Lee), and Rick Rozz (Frederick DeLillo), Schuldiner started to compose songs that were released on several rehearsal tapes in 1984. These tapes, along with the Death by Metal demo, circulated through the tape trader world, quickly establishing the band's name. In 1984, Schuldiner dissolved Mantas and quickly started a new band under the name Death. Its members included the same Rick Rozz and Kam Lee. Another demo was released, called Reign of Terror.

The original Death logo was re-drawn and re-vamped by Chuck Schuldiner
In 1985, after the Infernal Death tape was recorded and released, Schuldiner fired Lee and Rozz in favour of Repulsion's bassist and guitarist, Scott Carlson and Matt Olivio, respectively. However, a drummer could not be found; consequently the band dissolved again. Schuldiner moved to San Francisco and recruited DRI drummer Eric Brecht, but he was not happy with this incarnation of Death and moved back to Florida without a band. There, in 1986, Schuldiner got an invitation from early Canadian thrash band Slaughter to play on their album, which he accepted, moving to Canada. This only lasted two weeks, however, as he found the situation not to his liking. He returned to Florida, then moved quickly to San Francisco again, where he joined with Chris Reifert. They recorded the Mutilation demo, which led to a deal with Combat Records, owned by Important Distribution (later becoming Relativity), that enabled them to record the first LP.
Scream Bloody Gore was released in 1987. Schuldiner briefly had a second guitar player, John Hand, but Hand did not appear on the album (though his photo did). By this time Schuldiner moved back to Florida, leaving Chris Reifert behind. There, Schuldiner teamed up with former bandmate Rick Rozz and two members of Rozz's band Massacre, Terry Butler and Bill Andrews.

The mid-era (1988-1992)
In 1988, that lineup recorded Leprosy. After much gigging in support of the album, including a quick and ill-planned tour of Europe, Rick Rozz was fired in 1989. After a tour of Mexico featuring guitarist Paul Masvidal (later to re-emerge in the Death camp), a replacement was found in James Murphy, with whom the third album Spiritual Healing was recorded in Tampa in the summer of 1989. Murphy was sacked relatively quickly. By this time Schuldiner abandoned the "gore" lyrical theme for more social critique as Death's musical style progressed from simple brutal death metal to complex, technical death metal. Additional melody was added to the band's sound as well as more varied timings and song structures.
In 1990, on the eve of a European tour, Schuldiner decided against traveling, claiming at the last minute that he felt the tour was not adequately organized (and citing the group's previous disorganized European tour in 1988). Andrews and Butler continued with the tour of Europe as 'Death' regardless and recruited roadies Walter Trachsler (guitar) and Louie Carrisalez (vocals) to replace Schuldiner, much to Schuldiner's shock and disgust. Schuldiner took legal action when the dust settled and Butler and Andrews were expelled from the band.
Schuldiner abandoned the idea of a band set-up altogether and began working with session musicians only. Schuldiner hired Steve DiGiorgio and recruited Sean Reinert and Paul Masvidal from underground Florida band Cynic. 1991's Human was Death's best-selling album yet, receiving many accolades and some MTV play for the group's first video, directed by David Bellino, for the track Lack of Comprehension. Due to obligations with his primary band Sadus, DiGiorgio was forced to depart after the recording of Human and new bassist Skott Carino did Death's extensive world tour, from October 1991 until March 1992, in addition to appearing in the music video for Lack of Comprehension.
During this period of 1988-92, Death was managed by Eric Greif, a rocky relationship that culminated in at least two lawsuits between Greif and Schuldiner. However, when interviewed by Thrash 'n Burn, Schuldiner was characteristically mellow about what the writer referred to as his "gruesome collaboration" with Greif: "We just came to the conclusion that it was stupid just fighting all the time, taking each other to court and all that stupid shit." After his final break from Greif, Schuldiner managed himself for the remainder of his career.

The final years (1993-2001)
In 1993, Reinert and Masvidal left the group to continue with Cynic, Schuldiner being unable to persuade them otherwise. Schuldiner replaced them with Gene Hoglan of the recently dissolved thrash metal band Dark Angel, and worked with guitarist Andy LaRocque from King Diamond for Individual Thought Patterns. LaRocque being obligated to his band, Schuldiner hired a then-unknown Ralph Santolla as touring guitarist. Death was arguably at the peak of their commercial and popular culture success, and the video for the track The Philosopher, a lyrical slam against former guitarist Masvidal,[1] even made it on to a Beavis & Butt-head episode in 1994 (Beavis also parodies Schuldiner's vocals in a mock 'drive-thru' order of 'tacos, to go!' in death-metal style). Also in 1994, Death abandoned their eight year relationship with Relativity and signed with Roadrunner Records, their European distributor. For 1995's Symbolic, Santolla and DiGiorgio were exchanged for underground Florida musicians Kelly Conlon and Bobby Koelbe. For the Symbolic tour Brian Benson was bought in on bass (Conlon having left the band prior to the tour due to conflicts with Schuldiner).
After Symbolic, Schuldiner dissolved the band and all ties with Roadrunner and began writing songs for Control Denied. It was during this time that Schuldiner briefly worked with Florida studio guitarist James Hogan. Schuldiner was still contractually obligated to record an album under Nuclear Blast with Death, and so he used several songs that were intended to be used for Control Denied, as several song titles on The Sound of Perseverance were originally Control Denied song titles. He re-formed Death with Florida musicians Richard Christy, Shannon Hamm and Scott Clendenin to record 1998's The Sound of Perseverance with his new label Nuclear Blast.
After the album and two supporting tours, Schuldiner dissolved Death to pursue Control Denied with Christy and Hamm. Clendenin was dropped in favor of Steve DiGiorgio, who was once again available, and an underground power metal singer named Tim Aymar. As Schuldiner finished Control Denied's debut album, he was diagnosed with brain cancer, forcing the band to scrap plans for a US and Canadian tour. As he worked on the second release, the disease overcame him, and he died on December 13, 2001.

[edit] The aftermath
The second Control Denied release has yet to be completed and is mired in a variety of odd legal problems involving its label, the musicians (who have publicly stated their desire to complete the album) and Schuldiner's mother. In 2004, Hammerheart Records released a CD made up of old, pre-Scream Bloody Gore demos, along with partial demos of the unfinished album. This was issued under the name Chuck Schuldiner, not Death, but their markedly unfinished state and lack of vocals led few to pay attention, aided by Schuldiner's mother's pleas for fans to stay away from it.
Members of Death have dispersed all throughout the landscape of metal and popular music. Some, like Gene Hoglan from Dark Angel and Andy LaRocque from King Diamond, already had made a name for themselves. Others went on to do so, like Sean Reinert, who formed the legendary Cynic with fellow Death member Paul Masvidal. Ironically, both of these pioneering death metal musicians have ended up in a progressive, ethereal rock band named Æon Spoke laced with delicate guitars and Masvidal's soft croon. Richard Christy went on to gigs with Acheron and Iced Earth before joining The Howard Stern Show. Ralph Santolla has also played with Iced Earth, as well as Sebastian Bach, both of which were also stations for Steve DiGiorgio (he's still playing with Bach). While Santolla is now in Obituary and before this he was in Deicide. DiGiorgio also played for Testament and is still active with his original band Sadus. Bobby Koelbe founded the Orlando rock-funk-Latin fusion group JunkieRush in 2000. James Murphy was also in Testament for awhile, formed numerous projects such as Disincarnate (as well as stints with death metal bands Obituary and Cancer) and has made a name for himself. Murphy also has been stricken with cancer and, along with Deron Miller of CKY, is organizing a Death tribute album to be released upon completion. Recently, Kam Lee formed the band Denial Fiend with Terry Butler.

Trivia
Schuldiner designed the Death logo and its various incarnations during the length of his career. At one point he had the 't' become a standard cross as opposed to the earlier inverted version.

Band members

Last known lineup
Chuck Schuldiner -Vocals, Lead and Rhythm Guitars, main songwriter (1983-1999)
Shannon Hamm - Guitars (1996-1999)
Scott Clendenin - Bass (1996-1999)
Richard Christy - Drums (1996-1999)

Previous members

Guitarists
Rick Rozz (Frederick DeLillo) - Guitars (1983-1985, 1987-1989)
Matt Olivio - Guitar (1985)
John Hand - Guitar (Never played anything live or on any album, but credited on Scream Bloody Gore[2]) (1987)
Albert Gonzalez - Guitar (1990)
James Murphy - Guitar (1990)
Paul Masvidal - Guitar (1990-1991)
Andy LaRocque (Anders Allhage) - Guitar (1993)
Ralph Santolla -Live Guitar (1993)
Craig Locicero - Guitar (1993)
Bobby Koelble - Guitar (1995)

Bassists
Scott Carlson - Bass (1985)
Eric (last name unknown) - Bass (1985)
Terry Butler - Bass (1987-1990)
Steve DiGiorgio - Bass (1986, 1991, 1993)
Skott Carino - Bass (1991-1992)
Kelly Conlon - Bass (1995)
Brian Benson - Bass (Symbolic Tour)

Drummers
Kam Lee (Barney Lee) - Drums, Vocals (1983-1985)
Eric Brecht - Drums (1985)
Chris Reifert - Drums (1986-1987)
Bill Andrews - Drums (1987-1990)
Sean Reinert - Drums (1991-1992)
Gene Hoglan - Drums (1993-1995)