Post by Zedd Squared on Nov 4, 2023 6:06:22 GMT
Alex Webster
Member Of: Beyond Death (1986-1988, 2012), Cannibal Corpse (1988-present), Alas (1995-1996), Blotted Science (2004-present), Conquering Dystopia (2013-present)
Overview
Welcome to the first entry in my "Bass Elites" series! Over the last few years I've kept note of the standout performances and technical quirks of many of my favorite instrumentalists, and it seemed the right time to begin putting all that data to work. I'm focusing first on bassists because I've accumulated the most info for them so far. This is largely due to my fondness for both the instrument and for uncovering overlooked gems. Since it tends to be an overlooked instrument in general, bass tends to have a lot of stuff worth pointing out that the average person may not notice. And so, I decided to kick things off with one of the first players who made me pay attention to bass: Alex Webster of Cannibal Corpse.
Webster is, in many respects, the signature bassist of death metal. He's been a member of Cannibal Corpse for the entirety of their 35 year long career, and in that time has established a reputation as one of the best examples of refined musicianship in extreme music. His precise fingerstyle attack is a core part of the CC sound, often introducing riffs on bass alone before the rest of the band joins in ("Hammer Smashed Face" being a signature example). He's also responsible for writing a large percentage of the band's music, proving that it's possible to write basslines first and have the guitar follow their lead rather than the other way around. When you combine this level of prominence with his technical proficiency (and top it off with his reputation as one of the nicest guys in extreme metal), you get a true icon of the genre who regularly ranks among the favorite bassists of metal fans everywhere, myself included.
Approach to Writing Basslines
The traditional role of bass in rock and metal music is to follow the rhythm of the drums while playing the root notes of the chord or melodic pattern the guitars are playing. As a result, the left hand patterns required for a large quantity of bassists are fairly minimal. By contrast, Alex Webster and many of the bassists he's inspired tend to opt for matching the guitar riffs note by note a lot more frequently. On paper, this might sound like a fairly simplistic approach, but because death metal riffs are often built around single note patterns, they already have more in common with basslines than the riffs of more traditional rock-based genres. What this also means is there's a far greater amount of precision required on the part of the bassist. This is a large part of what defines Webster's style. To really match a professional death metal guitarist note-for-note you have to be incredibly synced in with the music, because even a slight drift will make it sound like everything's falling apart. The fact CC never ran into this problem is a testament to how precise his bass playing truly is.
It's worth noting, however, that there are plenty of examples of Webster going outside the guitar part. Sometimes he opts instead to double the drums and employ a more staccato approach (something you hear a lot of in his instrumental tech metal project Blotted Science), but other times he'll play contrasting chords or full melodic lines that are independent from either instrument. In compiling my list of standout performances, I made a point to feature various moments like this because they perhaps best represent his personal voice on the instrument. Overall, it's his ability to pull back and stand out at just the right moments that makes him such an exceptional musician.
Playing Style
Webster famously only ever plays bass with his fingers, though the exact mechanics he uses are occasionally misunderstood. Because he's known for using 3 fingers (generally in a pattern of ring, middle, index) to match the speed of tremolo picked guitar riffs, people get the impression he's using 3 fingers all the time. In truth, the exact finger choices he makes varies greatly depending on the riff. He also spends a great deal of time alternating between just the index and middle finger, and occasionally will use a single finger multiple times if it's a slower part that calls for some extra oomph. The lines he writes aren't always well suited to strict alternate plucking either, and when they aren't he tends to use raking on descending lines to achieve a smoother transition from string to string.
Despite the level of chops Webster has, he doesn't always match the speed of the guitars exactly. His ability to play evenly-spaced 16th notes with fingers is legendary and often employed, but he's stated in the past that above 190 bpm or so he'll switch to an 8th note feel or a slight variation employing triplets in order to keep pace with the guitars. It's good for both conserving energy as well as making the music hit harder, because especially during blast beat sections it might sound a bit thin if the bass was playing full speed too. I'm not sure if he got the idea for this from Cliff Burton, but I know he was a big influence for him in general and Burton did this approach a lot during faster Metallica songs, so it's possible some of it descends from him. Another often cited influence is Billy Sheehan, and the multi-finger tapping Sheehan's known for is sometimes used by Webster to follow along with the guitars at the highest tempos. Some good examples of him using this latter approach are CC's "Perverse Suffering" and "Hell Envenom" by Hate Eternal.
Top 10 Bass Performances
10. Adenosine Breakdown - Blotted Science
"Adenosine Breakdown" is a unique entry in Webster's discography because it's actually…calm. Or at least, at first. It eventually turns into a tremendous display of endurance, but prior to that it undergoes a surprisingly gradual development. The first minute goes from serene to anxious before eventually freaking out, and the bass also follows this trajectory. You get to hear some rare whole notes at first, then a section of interplay where he swaps between percussive and melodic playing, and then the crushing riffs begin. It seems to be one of his most overlooked performances, probably at least in part because it's so late into the tracklisting of the album. Even so, it's one of the purest displays of him as a true "bassist" in that he supports the song throughout many changes while still being interesting to listen to from a player's perspective.
Notable Timestamps: 0:12-0:31, 0:32-1:02, 1:35-1:49, 2:09-2:32, and 2:58-3:08.
9. Caged…Contorted - Cannibal Corpse
Torture is absolutely loaded with creative bass parts, and the Rob Barrett-penned "Caged…Contorted" is a great example to start us off with. Webster's three finger technique clank is on full display in many of the riffs of this song, often doubling the guitar riff an octave below but also playing power chords in key spots and occasionally re-voicing a melody line to create contrary motion with the guitars. It also contains 2 rip-roaring borderline bass solo parts (1:08-1:24 and 3:11-3:26) that create a strong amount of melodic intrigue and demonstrate his command over various parts of the fretboard quite well.
Notable Timestamps: 0:00-0:28, 1:08-1:24, 2:46-3:11, and 3:11-3:26.
8. Mutation of the Cadaver - Cannibal Corpse
This is an especially killer tonal showcase, with Webster immediately ripping into one of his signature lead bass riffs. It sounds like he's plucking around the neck pickup rather aggressively at the beginning, giving it a snarling sort of tone, whereas by comparison he achieves a more twangy contrast (possibly achieved by plucking closer to the bridge) around 0:28-0:42. In addition to the tonal variety though, the playing itself is relentless. His use of rests in the midst of an otherwise blazing riff during the verses especially pops out in the mix, and the rest of the time he's crawling all over the neck both in and (intentionally) out of sync with the guitar riffs, giving the whole piece an unhinged feel.
Notable Timestamps: 0:00-0:09, 0:28-0:42, 1:18-1:35, and 2:35-2:49.
7. Intestinal Crank - Cannibal Corpse
Since this is another track that Webster penned all on his own, this is a good example of the "playing bass parts on guitar" philosophy I referenced previously. For much of the song, the guitars are following the bass rather than the other way around, with both instruments committing to single line parts and not delving into two or three note voicings as often (though they do occasionally). The intro riff in 6/4 plays with timing in some interesting ways and the plucking approach is especially powerful sounding here. During the verses, Webster almost becomes another percussion instrument with how aggressively his 16th note plucking is cutting through, with the attack almost louder than the notes being played. During the breakdown, he takes this a step further with some blistering sextuplets played in unison with the guitar, demonstrating Webster's signature precision in full force.
Notable Timestamps: 0:30-0:55, 2:02-2:14, and 2:40-3:08.
6. A Sting Operation: IV. Omitting Eyes - Blotted Science
It's hard to not say this about most of the songs on this list given the style of music, but this track in particular is a marathon. It has rapid tempo and feel changes throughout which are kept up with effortlessly, while also maintaining a strong sense of dynamics despite the momentum required (see the softer 1:37-1:55 section or the switch between 0:00-0:07 and 0:08-0:09 for examples). One of the benefits of Blotted Science is we get more soft sections than in Cannibal Corpse, so we get to hear more of Webster's vocabulary for chord changes, and this song is a good example of that.
Notable Timestamps: 0:00-0:09, 0:18-0:28, 0:35-1:00, 1:23-1:37, and 1:37-1:55.
5. Force Fed Broken Glass - Cannibal Corpse
Webster's said himself that The Bleeding was a turning point for him as a player, and it's true that if you had to pick a single Cannibal Corpse album to showcase his talents, this is likely the one that'll grab the listener's ears the quickest. While Gore Obsessed and Torture may be more consistently technical and adventurous, the bass tone on The Bleeding is so upfront that it makes it impossible to ignore the bass madness on display. And indeed, even aside from the level of presence, there are lots of innovative bass parts on the record and "Force Fed Broken Glass" is a great example of this. Sections like 1:05-1:11 demonstrate his famous three finger 16th note technique where the accent falls on a different finger each time, while he creates some effective contrast around 0:26-0:38 by first striking full diminished chord voicings and then switching to arpeggiating them as a sort of lead fill. Exciting stuff already, but then later in the song we get to hear some more traditional melodic fills (a rare occurrence in the CC discography) during the breakdown and finally some slick sweep tapping in the outro. It almost sounds like an evil multiverse version of Billy Sheehan's sweeps from the early Mr. Big days. Given that this is also a fairly long track by Cannibal Corpse standards, it feels like one of his most "complete" bass performances which is why it seemed like a must-have for the top 5 of this list.
Notable Timestamps: 0:03-0:22, 0:32-0:38, 0:40-1:00, 2:19-2:50, 3:04-3:12, and 4:04-4:31.
4. Synaptic Plasticity - Blotted Science
There's something iconic about this track. I don't know if it's just me, but with it being the first track from Blotted Science's debut it's always felt like a mission statement for both the band and Webster's playing style in the band. Since a lot of people would be discovering Blotted Science because of his involvement (not to downplay the achievements of Jarzombek or Zeleny), there's an additional satisfaction achieved by kicking things off with such a bass heavy track. In Synaptic Plasticity, the bass keeps up with a ton of jarring shifts and rhythmically complex riffage throughout, while also adding a good bit of its own spice at key moments. There are of course the wild tapping fills around 1:08/5:03 and the slithering bass break at 2:19 (complete with some well placed tritone double stops), but the real highlight to me is 2:57-3:27. To support the guitar solo, he plays a spiraling odd time riff that changes modes and voicings regularly throughout, giving a more overt glimpse into his music theory background than we usually hear and sounding killer in the process. Certainly a powerful beginning to a masterful album and one of Webster's signature performances.
Notable Timestamps: 1:02-1:08, 1:08-1:30, 2:19-2:40, 2:57-3:27, 4:58-5:04, and 5:26-5:29.
3. An Experiment in Homicide - Cannibal Corpse
It's kind of insane how much is packed into the mere 2 minutes and 36 second duration of this track. We get support role moments, doubling in the same octave as the guitar moments (such as 1:30), groovy midtempo riffing, power chords on bass, and even two full on bass solos (at 0:33-0:41 and 1:50-1:58). What's particularly unique about those solo parts is, unlike other melodic bass sections in his discography, these two are completely distinct from each other and have the independence arrangement-wise that a solo part should have. There's some fast scale moments where he plucks every note but there's also some flowing legato arpeggios, which is often hard to fit into such a rhythmic genre yet it's done here with ease. Thankfully, this song is one of the only lead bass features that has been implemented into the CC setlist semi-regularly, so us bass geeks know to ensure we don't miss a set when it gets added back in.
Notable Timestamps: 0:00-0:09, 0:33-0:41, 1:14-1:22, 1:30-1:38, and 1:50-1:58.
2. Grotesque - Cannibal Corpse
"Grotesque" is one of Webster's most adventurous bass performances. This is one he wrote in full himself so the guitar riffs are his doing as well, and yet even so he chooses to play parts that largely contrast the guitar lines, while still uniting with them during key moments. There are parts where he'll hold out a quarter note under a blast beat before ripping into a fast tremolo picking line and others (such as under the guitar solo) that alternate between doubling the guitar riff and cascading diminished fills, giving an extra bit of flavor to the experience. To top it off, he lets loose a terrific tapping-themed bass solo from 2:29-2:58 that moves through a variety of different voicings before ending with some dissonant chords, hitting the listener like a ton of bricks before the deranged riffing returns.
Notable Timestamps: 0:11-0:26, 1:37-1:57, 2:07-2:17, and 2:29-2:58.
1. The Strangulation Chair - Cannibal Corpse
I get the feeling Webster may have been listening to some tech death around the time he wrote this piece, because he's really channeling those vibes more than ever here. There's a lot of janky odd time riffage throughout the piece, but there's also some great moments of contrast. Take for example 1:10-1:26 where the bass plays upper register fills only to abruptly stop while the guitar tremolo picks above it. That's already a pretty slick and independent bass section but then 2:14-3:00 is when he goes apeshit. Starting with a blazing tapping solo, he then goes into a variety of harmonized lines that carry a slight jazzy flavor to them, only to then bring back the tapping solo theme into a riff above the guitars. It is truly a shame this song hasn't been played live yet, because it's the kind of all out bass showcase that'd be great to see in person.
Notable Timestamps: 0:00-0:26, 1:10-1:26, 2:14-2:21, 2:24-2:41, and 2:41-3:00.
Honorable Mentions
There were a lot of other performances I considered including in the main list, and some stood out enough that it didn't seem right to not mention them somewhere. Therefore, here's some more cool stuff!
Note 1: These aren't ranked in any particular order, instead since they're honorable mentions rather than part of the main list I've simply included them in chronological order.
Staring Through the Eyes of the Dead - Cannibal Corpse
A fan favorite from The Bleeding, "Staring Through the Eyes of the Dead" almost made the main list many times before I ultimately decided against it. The track features some intense legato riffing (an especially difficult feat on bass), a deft mix of two and three finger technique plucking, and a classic breakdown featuring some dissonant chords and a bass break that hypes up the following guitar riff beautifully. All a lot of strong features that could've gotten it a slot on the list, but ultimately I couldn't definitively say that it eclipsed the other tracks so I put it in this section instead. Still, a great tune for sure.
Notable Timestamps: 0:00-0:31, 1:18-1:33, 1:45-1:52, and 2:20-2:35.
From Skin to Liquid - Cannibal Corpse
This is one of Webster's personal favorites and it's developed a reputation as being one of Cannibal Corpse's "smarter" tracks. Being a dark and brooding instrumental of almost 6 minutes, it exercises a lot more restraint than most of their catalog and the bass follows suit. It's interesting from a bass perspective because it features augmented chords and whole tone riffing, a quirk of Webster's writing I didn't get to represent much in the main list. The choice to use a key like that gives the piece a particularly uncomfortable feeling musically. This is added to by the use of contrast in parts like 3:26-3:57, wherein the bass plays a busier part in the bottom register of the instrument while the guitars play a slower doom metal-flavored riff on top.
In spite of the creativity on display in this track both from a writing and a playing perspective, there are a few reasons I left it off the list. First, the bass is mixed pretty low compared to my other choices and in a lot of sections you have to strain to make out the details. Secondly, it's more of a songwriting showcase than a bass playing specific showcase, and ultimately this post is more about the latter than the former. Still, a track worth highlighting.
Notable Timestamps: 0:26-0:56, 1:57-2:17, 2:46-3:02, and 3:26-3:57.
Drowning in Viscera - Cannibal Corpse
This is another one that stands out for how great the bass tone is, even if most of the time it's following the guitar riffs penned by Pat O'Brien. Now, granted the choruses have some very cool lead bass riffing that breaks out of that (0:35-0:47 and 1:07-1:24 for example), and those parts are awesome enough that I didn't feel right not mentioning this one somewhere. Having said that, because it is mostly O'Brien's riffs I ended up leaving it off the list, particularly since there's already "Caged…Contorted" on there which stands out for most of the same reasons as this one.
Notable Timestamps: 0:00-0:16, 0:35-0:47, 1:07-1:24, 1:34-1:52, and 2:38-2:52.
Amnesia - Blotted Science
The first 25 seconds of this is the most full-on bass solo Webster's ever done. It's literally unaccompanied for one thing, but it's also the most unfiltered demonstration of his chops. Great use of melodic motifs and scale sequencing here in particular. After that, there are a couple of cool bass breaks that foreshadow the upcoming guitar riffs, but nothing that surpasses the other Blotted Science tracks I've included. It's also a very short track so in spite of the great playing on display, it doesn't quite feel like a complete performance in the way that others do.
Notable Timestamps: 0:00-0:25, 0:25-0:34, and 0:58-1:10.
Ingesting Blattaria - Blotted Science
Though this piece mostly consists of alternating between doubling Ron Jarzombek's guitar lines and Hannes Grossman's double bass drum parts, the degree of proficiency on display in doing so is remarkable. Webster's tone cuts through with reckless abandon and the amount of sudden shifts and left hand-intensive riffing on display is an incredible endurance test, and one that he passes with flying colors. There's also a very cool softer section (around 3:34-3:51) where he breaks out of the doubling into an independent, crawling bass line that provides both counterpoint and harmony to the guitar part.
The reason it didn't make the main list is that, ultimately, there's not enough featured here that wasn't already represented. Jarzombek also does the main writing in Blotted Science so, given the choice between this and something Webster wrote himself, I opted for the latter.
Notable Timestamps: 0:16-0:34, 1:53-2:01, 2:14-2:26, 3:26-3:54, and 5:05-5:20.
Note 2: You may have noticed that two key Cannibal Corpse albums have been omitted from this post: Tomb of the Mutilated and A Skeletal Domain. I struggled a lot with this because I consider them part of my personal "big five" as far as prominent bass on CC albums go (those two plus The Bleeding, Torture, and Gore Obsessed). The only reason I haven't included specific songs from those albums is because, although the bass playing is great, it's a bit more focused on following the guitars and I didn't have as much to say about them on a track-by-track basis. Check out my Spotify playlist included below for the songs I'd consider my favorites bass-wise from them if you're curious.
{Additional Oddities}
As if I hadn't already geeked out hard enough, here are some odds and ends I found that I thought may be of some interest. No specific timestamps here because it's more about representing different aspects of his style rather than arguing a case for their inclusion on the list or as honorable mentions.
Alas - Rejection of What You Perceive
This demo is the only example of Webster performing bass parts for a clean vocal band, and notably he uses a rather different approach for it. His tone is almost reminiscent of a Fender Jazz bass and he plays more purely melodic lines, plus also implementing more fills and counterpoint than on average. Nonetheless, you still have some aggressive clank moments that remind you it's him. I chose this particular track because it has some of the best examples of those aspects I mentioned, though really the whole demo is worth checking out.
Conquering Dystopia - Kufra at Dusk (Bass Playthrough)
The only close-up bass playthrough video of Webster on Youtube, providing a great insight into the finer details of his technique. A good choice of song as well since it features a good mix of his main styles. There's guitar riff doubling, drum beat doubling (with independent note choices), two and three finger technique, and also some tricky scale-based lines that are all brought into clear view from the camera work.
Jeff Hughell - Chaos Labyrinth
This is the only guest appearance Webster's done where he was brought in just to play a bass solo. He's not a bassist who takes a lot of full-on solos as is, so this is especially unique for him. The credits say he plays bass solo number 3, which I think is 1:31-1:57 but it's hard to tell. None of the solos sound obviously like him so without reaching out to confirm it's anyone's guess. Either way, all of these solos are very cool and it certainly qualifies as an interesting oddity.
As if I hadn't already geeked out hard enough, here are some odds and ends I found that I thought may be of some interest. No specific timestamps here because it's more about representing different aspects of his style rather than arguing a case for their inclusion on the list or as honorable mentions.
Alas - Rejection of What You Perceive
This demo is the only example of Webster performing bass parts for a clean vocal band, and notably he uses a rather different approach for it. His tone is almost reminiscent of a Fender Jazz bass and he plays more purely melodic lines, plus also implementing more fills and counterpoint than on average. Nonetheless, you still have some aggressive clank moments that remind you it's him. I chose this particular track because it has some of the best examples of those aspects I mentioned, though really the whole demo is worth checking out.
Conquering Dystopia - Kufra at Dusk (Bass Playthrough)
The only close-up bass playthrough video of Webster on Youtube, providing a great insight into the finer details of his technique. A good choice of song as well since it features a good mix of his main styles. There's guitar riff doubling, drum beat doubling (with independent note choices), two and three finger technique, and also some tricky scale-based lines that are all brought into clear view from the camera work.
Jeff Hughell - Chaos Labyrinth
This is the only guest appearance Webster's done where he was brought in just to play a bass solo. He's not a bassist who takes a lot of full-on solos as is, so this is especially unique for him. The credits say he plays bass solo number 3, which I think is 1:31-1:57 but it's hard to tell. None of the solos sound obviously like him so without reaching out to confirm it's anyone's guess. Either way, all of these solos are very cool and it certainly qualifies as an interesting oddity.
{My Personal Ranking of His Discography (From a Bass Perspective)}
Just for fun, here's how I'd rank each of the full albums in his discography strictly from a "how good and prominent is the bass?" perspective.
1. The Bleeding - Cannibal Corpse (1994)
2. Torture - Cannibal Corpse (2012)
3. Gore Obsessed - Cannibal Corpse (2002)
4. The Machinations of Dementia - Blotted Science (2007)
5. The Animation of Entomology - Blotted Science (2011)
6. Tomb of the Mutilated - Cannibal Corpse (1992)
7. A Skeletal Domain - Cannibal Corpse (2014)
8. Gallery of Suicide - Cannibal Corpse (1998)
9. Fury & Flames - Hate Eternal (2008)
10. Violence Unimagined - Cannibal Corpse (2021)
11. Kill - Cannibal Corpse (2006)
12. The Wretched Spawn - Cannibal Corpse (2004)
13. Bloodthirst - Cannibal Corpse (1999)
14. Vile - Cannibal Corpse (1996)
15. Conquering Dystopia - Conquering Dystopia (2014)
16. Red Before Black - Cannibal Corpse (2017)
17. Chaos Horrific - Cannibal Corpse (2023)
18. Eaten Back to Life - Cannibal Corpse (1990)
19. Evisceration Plague - Cannibal Corpse (2009)
20. Butchered at Birth - Cannibal Corpse (1991)
Just for fun, here's how I'd rank each of the full albums in his discography strictly from a "how good and prominent is the bass?" perspective.
1. The Bleeding - Cannibal Corpse (1994)
2. Torture - Cannibal Corpse (2012)
3. Gore Obsessed - Cannibal Corpse (2002)
4. The Machinations of Dementia - Blotted Science (2007)
5. The Animation of Entomology - Blotted Science (2011)
6. Tomb of the Mutilated - Cannibal Corpse (1992)
7. A Skeletal Domain - Cannibal Corpse (2014)
8. Gallery of Suicide - Cannibal Corpse (1998)
9. Fury & Flames - Hate Eternal (2008)
10. Violence Unimagined - Cannibal Corpse (2021)
11. Kill - Cannibal Corpse (2006)
12. The Wretched Spawn - Cannibal Corpse (2004)
13. Bloodthirst - Cannibal Corpse (1999)
14. Vile - Cannibal Corpse (1996)
15. Conquering Dystopia - Conquering Dystopia (2014)
16. Red Before Black - Cannibal Corpse (2017)
17. Chaos Horrific - Cannibal Corpse (2023)
18. Eaten Back to Life - Cannibal Corpse (1990)
19. Evisceration Plague - Cannibal Corpse (2009)
20. Butchered at Birth - Cannibal Corpse (1991)
{Playlist of Highlights}
As I've alluded to before, there are many more highlights than I included in this post. The below playlist consists of all of the tracks that stood out to me personally. I tried to include a bit from each album, but you'll notice a few are omitted because they ultimately didn't have anything that stood out enough (often because the bass was mixed too low).
As I've alluded to before, there are many more highlights than I included in this post. The below playlist consists of all of the tracks that stood out to me personally. I tried to include a bit from each album, but you'll notice a few are omitted because they ultimately didn't have anything that stood out enough (often because the bass was mixed too low).