khaos A.D.

(Source: iamtheblackfog)

(Source: holierthanyou)

miguelthrashes:

pizzapunkoi:

robertlange:

Only chuck can get away with wearing shorts that tiny.

^ exactly what i was gonna say

(Source: kurtdavekrist)

(Source: imgfave)

(Source: metalerosdechile)

guitarpornography:

100 Favorite Guitarists: #33 Chuck Schuldiner (Death, Control Denied)

I cannot overstate Chuck Schuldiner’s importance to the heavy metal world. What Death did was simply astonishing, transforming the metal landscape and laying waste to it through the art of death metal. Schuldiner must have been both a good eye for talent and a charismatic leader, because he managed to attract some big names around him, including guitarists Paul Masvidal and Andy LaRocque, bass legend Steve DiGorgio and journeyman master of the drums Gene Hoglin. And yet with all that talent, Death rarely had a solid line-up, which in a way, further impresses me with what Schuldiner managed to do. His creative force was so great that he could make whatever music he desired and it would be astounding regardless of who happened to be playing with him. Schuldiner’s style was always one that revolved around a highly percussive attack on the strings, aggressively hammering out riffs in rapid succession and then using the atonality of the sound to bridge into break neck time changes. The sound is one of raw unchecked aggression, meted out in cascades and then brought into sharp contrast with the other sections of the song. Listening to a song like “Scavenger of Human Sorrow,” you can hear the way palm muting is used to offset the natural fury of the intro, making the point at which a chord is allowed to ring open all the more explosive. As strange as this may seem, I feel as if this often brings the guitar into perfect concordance with the rhythm sections, mimicking the normal use of drums by setting a pace and having a natural bass response. Schuldiner used this natural inclination of his playing to make the song structures he worked in so dynamic, so changeable, each song handling the same attack, but in such a varied spectrum of colors, ranging from the most outwardly brutal to the melancholic and the surreal. I feel like most people do not hear in variance in what is being played in a death metal song, but Death was always a band that could capture the darker side of existence without naturally falling into total anger, instead punctuating the guitar attack on the changing space of the emotion, allowing the guitar to be that unconscious flow from one thought to another. In this way, Schuldiner’s solos are among the most abstract I have ever seen, often coming in at a slower pace and building into something catastrophic sounding, locked in an almost death spiral to emulate the chaos of existence. When he found himself brought into unity with the other guitarist, the results would often form sharp contrasting harmonies, ones that stay just this side of listenable and captivate as you watch them move back into unison. Sadly, the world was robbed of Chuck Schuldiner too early, but his shadow will forever loom upon heavy metal.

The Equipment: Hooray! A simple one for once! For most of his career, Schuldiner used a BC Rich Stealth, which was custom shop only at this point. The shape of the guitar is radical, looking like some alien, twisted X and Chuck’s was especially stripped down, containing only a single DiMarzio X2N, a very loud and hot humbucker with a rather flat EQ and a wrap around bridge, which are simply terrible. BC Rich makes a tribute version of this now, but 1000 dollars for a wrap around bridge… no thanks. His main amp in the later days of Death was a Marshall Valvestate 8100 on 1960 cabinets and these are actually quite the bargain on eBay, offering a good compromise between a Tube and Solid State Amp. In addition, he had also used a Randall RG100ES and a GK 250ML in the earlier days. No pedals to speak of, so I am even more impressed by his coloring of a song’s timbre.

Key Track: The Philosopher

(Source: thordenthal)

(Source: posters-for-good)