In the gritty world of heavy metal, few bands have sparked as much debate as Slayer's impact on the darker realms of death metal—could it really be the root of it all? Dive into this fascinating chat with Cannibal Corpse's bassist Alex Webster, and you'll uncover how the evolution of metal isn't just about louder riffs, but a relentless quest for the extreme. It's a journey that starts with innocent beginnings and spirals into the abyss of growling chaos. But here's where it gets controversial: Webster claims Slayer holds the throne among thrash pioneers, shaping death metal's brutal sound. Stick around—this is the part most people miss, where personal inspirations paint a picture of a genre's turbulent birth.
During a recent episode of the '100 Songs That Define Heavy Metal' podcast, helmed by Metal Blade Records CEO Brian Slagel, Alex Webster opened up about his musical roots and the path that led him to the heavy stuff. He reminisced about his childhood, saying, 'When I was just a little kid, around single digits in age, I was soaking up '50s rock from my dad's collection—think Chuck Berry and Elvis Presley, those timeless hits he had from his teenage years. That was my early soundtrack.' From there, he transitioned to more mainstream rock, like The Police, which broadened his horizons. But then came his teenage years, the era when metal burst into his life. Bands like Accept and Iron Maiden were his gateways, pulling him deeper into the scene. Soon enough, thrash metal giants like Metallica, Slayer, Kreator, and Megadeth had him hooked, each one pushing the boundaries further. As Webster puts it, metal fans are always chasing that next level of intensity, building on what came before. And in his view, among all the thrash trailblazers, death metal owes its biggest debt to Slayer. He describes it like a family tree: a huge chunk of death metal sprouts directly from the Slayer branch. Sure, other acts like Venom played their roles, but for Webster and his crew, Slayer stands out as the primary thrash influence, alongside Kreator and Dark Angel.
Now, diving into the origins of that signature death metal growl—the guttural, almost inhuman vocal style that defines the genre—Webster shared an intriguing insight. He expressed a wish for some of the early pioneers to sit down for a discussion, tracing back the roots of this distinctive sound. It might have begun with legends like Lemmy from Motörhead or Cronos from Venom, who were still singing with melodies but edging toward a growl. Then came deeper, more primal voices from guys like Jeff Becerra of Possessed, Chuck Schuldiner of Death, and Kam Lee of Massacre. From there, the style evolved, becoming increasingly rhythmic and guttural, stripping away melodies entirely. Webster credits early death metal bands and thrash acts like Mille Petrozza from Kreator as major inspirations for Cannibal Corpse. For beginners dipping their toes into metal history, think of it like this: imagine vocals starting as sung lyrics with a hint of growl, like a warning rumble, and then morphing into a full-throated roar that matches the pounding drums—it's all about amplifying the aggression to match the music's ferocity.
When asked if forming a death metal band was always the plan or just how things naturally unfolded, Webster clarified that for Cannibal Corpse, it was deliberate. This was back in 1988, when death metal was already emerging, and they were fans of demos from bands like Morbid Angel and records from Death. Albums such as Kreator's 'Pleasure to Kill' felt almost death metal to him at the time, much like some Sodom releases. So, when they launched Cannibal Corpse, they aimed straight for that dark direction. Before that, Webster and his then-guitarist Jack Owen were in a crossover band called Beyond Death, blending influences from Kreator and D.R.I.—a mix of thrash energy and punk edge. But with Cannibal Corpse, inspired by Death and Morbid Angel, they committed fully. It took a bit of time to refine their sound, but by their 1990 debut 'Eaten Back to Life,' the thrash roots were evident, yet the death metal identity was unmistakable. This progression highlights how bands often experiment before locking into their niche, evolving through trial and error to create something uniquely brutal.
Shifting gears to recent band news, this past summer and fall saw Cannibal Corpse hitting the road for a U.S. tour, with Brandon Ellis stepping in on guitar to cover for Rob Barrett. The lineup included support from Municipal Waste, Full of Hell, and Fulci, kicking off on September 15 in Nashville, Tennessee, and wrapping up on October 22 in Charlotte, North Carolina. Ellis, who left The Black Dahlia Murder in February, has a storied background: he started with Arsis before joining The Black Dahlia Murder in 2016 to replace Ryan Knight. Over nearly a decade, he contributed to three albums there, two of which featured original vocalist Trevor Strnad, who sadly passed in 2022.
And speaking of albums, Cannibal Corpse's sixteenth studio effort, 'Chaos Horrific,' dropped in September 2023 through Metal Blade Records. Since bursting onto the scene in 1988, the band has been death metal's relentless force, constantly redefining its boundaries. They upped the ante in 2021 with 'Violence Unimagined,' and in 2023—marking their 35th anniversary—they unleashed 'Chaos Horrific,' a monstrous continuation of their legacy. Guitarist and producer Erik Rutan, who joined as a full member in 2020, has now produced six of their albums, starting with 2006's 'Kill.' The recording took place at Rutan's Mana Studio in Florida, ensuring that signature Cannibal Corpse intensity.
But here's the controversy that might get fans arguing: Is Slayer truly the undisputed king of thrash influences on death metal, or do other bands like Venom deserve more credit for pioneering that demonic edge? And this is the part most people miss—what if the growling vocal style's evolution was more about cultural rebellion than pure musical innovation? What do you think? Does Cannibal Corpse's journey reflect the true spirit of metal's growth, or is there a counterpoint we've overlooked? Share your thoughts in the comments—do you agree with Webster's take, or does it spark disagreement? Let's debate!
