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Welcome to Hell (1981)
Released in December 1981, Welcome to Hell is the first full-length from the English band, Venom. Unlike the other NWOBHM bands, this trio mainly focused on raw aggression. They took the attitude and style of Motörhead, the intensity of punk rock and the darkness of early Black Sabbath and mixed them together to create something more primitive and wicked.
Songs like"Sons of Satan", and Live Like An Angel (Die Like A Devil)" burst forth like something from Overkill or Ace of Spades, but with raspy, diabolical vocals. The latter features twin guitar harmonies about halfway through, one of the few moments where they display similarities with others within the ‘movement’. These fast and intense songs are only surpassed by “Witching Hour”, the most hellish thing on this record. After an ominous intro, razor sharp guitar riffs slice at your throat as the song speeds along at a frantic pace. It features some of the best solo work on here and the overall atmosphere is evil and chaotic. “In League with Satan” also has a blasphemous feeling, but is slower and seems more ritualistic. These songs, in particular, almost benefit from the rough production job.
It almost seems wrong to mention some songs and not others, as everything here is very solid. Even tracks that dial back the speed, such as "Schizoid" and "One Thousand Days In Sodom", are both quite powerful and memorable. Welcome to Hell is overflowing with so many great riffs and piercing solos that add to the overall atmosphere of the material. This record might sound tame to more jaded ears, but it was quite intense for its time. For all of the talk about how influential Venom’s early works were, it almost reduces these albums to mere footnotes, simply harbingers of what was to come. Welcome to Hell certainly stands on its own, a dark and intense slab of early ‘80s metal and well worth checking out.
Songs like"Sons of Satan", and Live Like An Angel (Die Like A Devil)" burst forth like something from Overkill or Ace of Spades, but with raspy, diabolical vocals. The latter features twin guitar harmonies about halfway through, one of the few moments where they display similarities with others within the ‘movement’. These fast and intense songs are only surpassed by “Witching Hour”, the most hellish thing on this record. After an ominous intro, razor sharp guitar riffs slice at your throat as the song speeds along at a frantic pace. It features some of the best solo work on here and the overall atmosphere is evil and chaotic. “In League with Satan” also has a blasphemous feeling, but is slower and seems more ritualistic. These songs, in particular, almost benefit from the rough production job.
It almost seems wrong to mention some songs and not others, as everything here is very solid. Even tracks that dial back the speed, such as "Schizoid" and "One Thousand Days In Sodom", are both quite powerful and memorable. Welcome to Hell is overflowing with so many great riffs and piercing solos that add to the overall atmosphere of the material. This record might sound tame to more jaded ears, but it was quite intense for its time. For all of the talk about how influential Venom’s early works were, it almost reduces these albums to mere footnotes, simply harbingers of what was to come. Welcome to Hell certainly stands on its own, a dark and intense slab of early ‘80s metal and well worth checking out.
(6 Apr. 2009)
Bloodlust (1982)
Released in August 1982,the Bloodlust single preceded the band’s second L.P. by a couple months. Though brief, the two songs contained here are among the best Venom ever recorded. The title track is quite memorable, from the campy horror lyrics to the killer solos and the sort of old school drum beats that were typical of the early ‘80s. “In Nomine Satanas” is a bit heavier and mid-paced, adding a sense of dread. This one feels more serious in its delivery. The atmosphere darkens near the end, as the song kind of collapses with drawn-out guitar chords sounding hellishly evil and Cronos calling out over the screams of the damned.
The production is in line with that of the first record, having a rather rough sound but still clear enough to make out what is going on. These songs would have fit very well on either of the band’s first two records, so it seems weird to have only released them in this form (at the time), especially with only a couple months to wait until Black Metal. Thankfully, they have been preserved and re-released as bonus tracks, as well as on various compilations, so one should have no trouble giving them a listen.
The production is in line with that of the first record, having a rather rough sound but still clear enough to make out what is going on. These songs would have fit very well on either of the band’s first two records, so it seems weird to have only released them in this form (at the time), especially with only a couple months to wait until Black Metal. Thankfully, they have been preserved and re-released as bonus tracks, as well as on various compilations, so one should have no trouble giving them a listen.
(6 Apr. 2009)
Black Metal (1982)
Black Metal is the second full-length album from Venom, released in November 1982. The band picked from where they left off and returned with a similar, yet even deadlier, assault. The production is a little sharper, the songwriting a bit more structured and the atmosphere is darker and more intense.
Songs like the title track and “Heaven’s On Fire” possess all of the power and energy of “Witching Hour”, with more focus. Meanwhile, “To Hell and Back” and “Sacrifice” have a more relaxed pace, similar to the material on the Bloodlust single. The wicked vocals and hellish solos give these songs a rather gritty feel and it is all dripping with an early ‘80s vibe. Some of the best and most memorable tracks are “Leave Me in Hell” and “Don’t Burn the Witch”, both giving off more of a thrash feeling. The sharper guitar tone on this record definitely benefits them, and the latter embodies somewhat of a nocturnal vibe. However, the darkest song on here is “Buried Alive”. Slower than the rest of the material, you can almost feel the earth being shoveled on top of the coffin and the panic emanating from within. It is, possibly, the gloomiest song recorded by Venom. The feeling is absolutely morbid and this one song epitomizes early black metal. The guitar riffs are eerie, the vocal performance is ghastly and the drums are minimal, but effective.
Black Metal may be the high point of Venom’s career. It firmly established them as perhaps the fastest, darkest and most vicious bands around. Along with its predecessor, it laid the foundation for thrash, death and black metal. From Metallica and Slayer to Bathory and Celtic Frost, they were all influenced by early Venom. Either way, this is a great record and one of the most evil things released in the first half of the ‘80s. Definitely listen to this if you haven’t already.
Songs like the title track and “Heaven’s On Fire” possess all of the power and energy of “Witching Hour”, with more focus. Meanwhile, “To Hell and Back” and “Sacrifice” have a more relaxed pace, similar to the material on the Bloodlust single. The wicked vocals and hellish solos give these songs a rather gritty feel and it is all dripping with an early ‘80s vibe. Some of the best and most memorable tracks are “Leave Me in Hell” and “Don’t Burn the Witch”, both giving off more of a thrash feeling. The sharper guitar tone on this record definitely benefits them, and the latter embodies somewhat of a nocturnal vibe. However, the darkest song on here is “Buried Alive”. Slower than the rest of the material, you can almost feel the earth being shoveled on top of the coffin and the panic emanating from within. It is, possibly, the gloomiest song recorded by Venom. The feeling is absolutely morbid and this one song epitomizes early black metal. The guitar riffs are eerie, the vocal performance is ghastly and the drums are minimal, but effective.
Black Metal may be the high point of Venom’s career. It firmly established them as perhaps the fastest, darkest and most vicious bands around. Along with its predecessor, it laid the foundation for thrash, death and black metal. From Metallica and Slayer to Bathory and Celtic Frost, they were all influenced by early Venom. Either way, this is a great record and one of the most evil things released in the first half of the ‘80s. Definitely listen to this if you haven’t already.
(6 Apr. 2009)
At War With Satan (1983)
In March 1983, less than six months after the release of Black Metal, Venom released their third L.P. At War With Satan. This represents a departure from the previous records, as the whole first side is taken up by one lengthy song, with all of the best ideas poured into it. This is absolutely the most ambitious work ever composed by this band.
"At War With Satan" is an epic masterpiece of hellish proportions, a gore-soaked tale of war between demons and angels. The galloping riffs convey a feeling of tension, aided by the grittier guitar tone. The bass is audible and adds a sense of doom. The vocals sound possessed at times, as Cronos screams in demonic fury. Even the thrashier riffs and pounding drums seem focused in their goal of total destruction. There are so many changes in riff and tempo that the song truly feels like a lengthy journey. The atmosphere becomes more hellish and dark during the slower sections. Sadly, there are a couple of brief moments where it seems like a riff is building and then never quite gets unleashed in the most satisfying way, but this is a minor concern. The melodies and solos near the middle, right before the evil spoken word part, really show the NWOBHM sound at its finest, as much as Venom may have wanted to deconstruct this style. After about thirteen minutes, things get very quiet and eerie, leaving only an acoustic guitar and a bit of somber wailing in the distance before the guitars return to crush and kill all signs of life. As the song continues, the instruments seem to be emitting random sounds as they burn at the fiery depths, while Cronos, demonically, tells the grim tale and a funeral bell chimes in the background. This is the culmination of the darkness and evil that Venom wished to convey and it is something that really has to be heard to be understood.
After this massive beast of a song, the rest of the album is a bit of a letdown, though not bad. The second side of the L.P. is more in keeping with what one might expect from Venom. "Rip Ride" thrashes at full speed, featuring wicked solos, hellish screams and great riffs. "Genocide" rages from the pits of Hell at a bit more of a relaxed pace than the previous song, though still possessing enough lethal energy to slice your throat wide open. The refrain is very catchy and the riffs still possess a bit of epic feeling in them. The rest are rather lackluster and feel like filler. It’s as if the band has run out of steam.
At War With Satan may have been a misstep. It feels like the band put most of their creative energies into one massive song and didn’t seem to have enough left over for the rest of the material. For the most part, the first two records lacked any sort of throwaway tracks, but this one has several. The odd thing is that they had plenty of material, songs that had been released as singles and so on, they could have easily filled the rest of this release with top-tier stuff. At any rate, while the bands they inspired were out there making faster, heavier, darker music than they were, Venom was a band just spinning its wheels. That said, there is nearly half an hour of quality material on this L.P. so it is certainly worth a listen.
"At War With Satan" is an epic masterpiece of hellish proportions, a gore-soaked tale of war between demons and angels. The galloping riffs convey a feeling of tension, aided by the grittier guitar tone. The bass is audible and adds a sense of doom. The vocals sound possessed at times, as Cronos screams in demonic fury. Even the thrashier riffs and pounding drums seem focused in their goal of total destruction. There are so many changes in riff and tempo that the song truly feels like a lengthy journey. The atmosphere becomes more hellish and dark during the slower sections. Sadly, there are a couple of brief moments where it seems like a riff is building and then never quite gets unleashed in the most satisfying way, but this is a minor concern. The melodies and solos near the middle, right before the evil spoken word part, really show the NWOBHM sound at its finest, as much as Venom may have wanted to deconstruct this style. After about thirteen minutes, things get very quiet and eerie, leaving only an acoustic guitar and a bit of somber wailing in the distance before the guitars return to crush and kill all signs of life. As the song continues, the instruments seem to be emitting random sounds as they burn at the fiery depths, while Cronos, demonically, tells the grim tale and a funeral bell chimes in the background. This is the culmination of the darkness and evil that Venom wished to convey and it is something that really has to be heard to be understood.
After this massive beast of a song, the rest of the album is a bit of a letdown, though not bad. The second side of the L.P. is more in keeping with what one might expect from Venom. "Rip Ride" thrashes at full speed, featuring wicked solos, hellish screams and great riffs. "Genocide" rages from the pits of Hell at a bit more of a relaxed pace than the previous song, though still possessing enough lethal energy to slice your throat wide open. The refrain is very catchy and the riffs still possess a bit of epic feeling in them. The rest are rather lackluster and feel like filler. It’s as if the band has run out of steam.
At War With Satan may have been a misstep. It feels like the band put most of their creative energies into one massive song and didn’t seem to have enough left over for the rest of the material. For the most part, the first two records lacked any sort of throwaway tracks, but this one has several. The odd thing is that they had plenty of material, songs that had been released as singles and so on, they could have easily filled the rest of this release with top-tier stuff. At any rate, while the bands they inspired were out there making faster, heavier, darker music than they were, Venom was a band just spinning its wheels. That said, there is nearly half an hour of quality material on this L.P. so it is certainly worth a listen.
(7 Apr. 2009)
Die Hard (1983)
A few months after unleashing At War With Satan, Venom began releasing a lot of singles, mini-albums and compilations. The first of these was Die Hard, released by Neat Records in August 1983. Oddly enough, with the number of songs put out during this period, they could have issued them all on one full-length. It certainly would have been superior to Possessed. It wouldn't be until 1986 when they caught on to this and released The Singles: '80-'86. At any rate, what we have here are two solid Venom tunes that are worthy of being in anyone's collection.
"Die Hard" begins with a dark thrash riff, a slow build of the drums and a maniacal laugh. The pace isn't necessarily fast, but it's far from slow. It's more of the 'relaxed' Venom tempo that is found on songs like "Welcome To Hell". There's some interesting bass work, in the middle, just before and during the guitar solo. It adds a certain depth to the sound. Anyone that has seen Cronos, live, knows he can really shred on the bass when given the opportunity.
The next song is "Acid Queen". This one burst forth with increased speed, yet the intensity is ephemeral as the verse is more subdued. Cronos sounds out of his mind on this one, and the lyrics seem to cover drug use from an evil perspective. The song speeds up for a bit, featuring a lethargic lead solo as the depraved vocals rage over the trademark Venom guitar sound. The best description of this would be nasty or ugly, rather than dark or evil.
The US version of this features a third song, "Bursting Out". This version begins with a somber intro, before exploding at full speed. During the verses, there are moments where the guitars stop and the vocals are only backed by drums and bass, giving it more of a rock feeling, but only for a few seconds. There are some vocal effects on sections of the song, as Cronos seems to be echoed by distant, demonic voices. The lead solo is lethal and frantic, ending in a chorus of hellish screaming and the sounds of broken glass, with a bit of feedback swirling around. This provides a nice bit of chaos and adds some darkness to the song. Unfortunately for those outside the US, this is actually the best track on here.
All in all, these songs could have been saved for an L.P. but they go well together to create an interesting release and add nicely to the stockpile of Venom tunes.
"Die Hard" begins with a dark thrash riff, a slow build of the drums and a maniacal laugh. The pace isn't necessarily fast, but it's far from slow. It's more of the 'relaxed' Venom tempo that is found on songs like "Welcome To Hell". There's some interesting bass work, in the middle, just before and during the guitar solo. It adds a certain depth to the sound. Anyone that has seen Cronos, live, knows he can really shred on the bass when given the opportunity.
The next song is "Acid Queen". This one burst forth with increased speed, yet the intensity is ephemeral as the verse is more subdued. Cronos sounds out of his mind on this one, and the lyrics seem to cover drug use from an evil perspective. The song speeds up for a bit, featuring a lethargic lead solo as the depraved vocals rage over the trademark Venom guitar sound. The best description of this would be nasty or ugly, rather than dark or evil.
The US version of this features a third song, "Bursting Out". This version begins with a somber intro, before exploding at full speed. During the verses, there are moments where the guitars stop and the vocals are only backed by drums and bass, giving it more of a rock feeling, but only for a few seconds. There are some vocal effects on sections of the song, as Cronos seems to be echoed by distant, demonic voices. The lead solo is lethal and frantic, ending in a chorus of hellish screaming and the sounds of broken glass, with a bit of feedback swirling around. This provides a nice bit of chaos and adds some darkness to the song. Unfortunately for those outside the US, this is actually the best track on here.
All in all, these songs could have been saved for an L.P. but they go well together to create an interesting release and add nicely to the stockpile of Venom tunes.
(12 Apr. 2009)
Warhead (1984)
Warhead is the second of the singles put out after At War With Satan. This one was recorded at Impulse Studios in Newcastle and produced by Venom, with assistance from longtime engineer Keith Nichol. It was released on Neat Records in late January 1984 and it featured three different covers, each positioning a different band member at the forefront. It appeared in both 7" and 12" forms. The former contained only two songs while the latter had three, as well as an extended version of the title track. The single debuted on number 3 in the HM chart and stayed in the top 30 for 15 weeks. This release led to a monumental episode in the history of Radio One, when Tommy Vance conspired (by offering to pay sum of money to charity) to get the not-very-radio-friendly A-side played during daytime programming, to the distress and bewilderment of many sensitive souls.
"Warhead" begins with the faint pounding of drums and distant screaming. The music slowly builds and rises in volume until an explosion kicks the song into gear. There is a very primitive feeling on this one. The thrash section retains a subdued feeling, while the slow doom riffs dominate the sound. This is a very powerful song that should have been included on Possessed. Supposedly, many of those tracks were in existence as far back as the recording session for Black Metal anyway.
Side B features "Lady Lust", revisiting a common theme. For one reason or another, Venom likes to pay tribute to the ladies of the night as often as possible and this single is no exception. The song begins with a thrash riff and Abaddon's pulsing drums. Later on, Cronos gets a few moments to play with his bass before Mantas returns with a shrieking guitar riff. This song is fairly generic, not doing a whole lot for me.
Thankfully, the 12" version features a third song, "The Seven Gates of Hell". This is the best song presented here, as well as one of the best Venom tracks ever recorded. This one begins with an eerie intro, as the music slowly rises up from the murky depths. The song features a morbid pace, evil lyrics and incredible execution by all three band members. This one possesses somewhat of an epic nature, as well as very memorable riffs and vocal lines. The middle section features sparse guitars, mostly carried by drums and bass with some demonic vocals. There is a very nice lead solo, maintaining a creepy feeling as it slowly winds its way through the mist. A sense of tension seems to be building after this point, as the pace quickens for a bit, faster and faster, before settling down once more. "The Seven Gates of Hell" is a true Venom classic. The reason why this song wasn't featured, prominently, on an L.P. remains a mystery.
Warhead is a very essential release, provided that you obtain the 12" that includes all three songs. The second track is kind of a letdown, but the others are prime examples of why Venom was so great.
"Warhead" begins with the faint pounding of drums and distant screaming. The music slowly builds and rises in volume until an explosion kicks the song into gear. There is a very primitive feeling on this one. The thrash section retains a subdued feeling, while the slow doom riffs dominate the sound. This is a very powerful song that should have been included on Possessed. Supposedly, many of those tracks were in existence as far back as the recording session for Black Metal anyway.
Side B features "Lady Lust", revisiting a common theme. For one reason or another, Venom likes to pay tribute to the ladies of the night as often as possible and this single is no exception. The song begins with a thrash riff and Abaddon's pulsing drums. Later on, Cronos gets a few moments to play with his bass before Mantas returns with a shrieking guitar riff. This song is fairly generic, not doing a whole lot for me.
Thankfully, the 12" version features a third song, "The Seven Gates of Hell". This is the best song presented here, as well as one of the best Venom tracks ever recorded. This one begins with an eerie intro, as the music slowly rises up from the murky depths. The song features a morbid pace, evil lyrics and incredible execution by all three band members. This one possesses somewhat of an epic nature, as well as very memorable riffs and vocal lines. The middle section features sparse guitars, mostly carried by drums and bass with some demonic vocals. There is a very nice lead solo, maintaining a creepy feeling as it slowly winds its way through the mist. A sense of tension seems to be building after this point, as the pace quickens for a bit, faster and faster, before settling down once more. "The Seven Gates of Hell" is a true Venom classic. The reason why this song wasn't featured, prominently, on an L.P. remains a mystery.
Warhead is a very essential release, provided that you obtain the 12" that includes all three songs. The second track is kind of a letdown, but the others are prime examples of why Venom was so great.
(17 Apr. 2009)
Nightmare (1985)
The Nightmare E.P. is interesting as it seemed to spark some controversy. The cover artwork was deemed too graphic, so it was pulled. A different version was then released in October 1985, featuring the band members on the cover. This is the single, containing one less song that the initial E.P. After a short time, the original version was re-released, with the three songs that it initially contained, plus a live song added on. As for the music, it was recorded in the same studio as the rest, Impulse, and engineered by the same Keith Nichol that handled all of the material up to this point.
Side A begins with "Nightmare". This song starts with a somber acoustic part before really kicking in. It is pretty mid-paced and even the lyrics are kind of subdued. They deal with more realistic horror, rather than taking the Satanic approach that the band was known for. The vocals come across with conviction and feeling, while the guitar riffs have the feeling of a cool autumn night. And make no mistake; this music is made for a nocturnal setting. It serves to create a dark atmosphere, in an entirely different manner than previously used. This song is unique and memorable; definitely one of Venom's best.
Side B features "Satanarchist". This song is introduced by some eerie feedback and demonic voices. A faster pace dominates the track, providing a good sense of balance with the other tune. It isn't exactly groundbreaking, but it is a good, straight-forward Venom song. It's short and memorable, featuring some decent black/thrash riffs.
This is one of my favorite Venom singles, mainly due to "Nightmare" being such a killer song. As mentioned in the reviews of other singles, it really seems counterproductive that they released so many singles and yet never bothered to use them for an L.P. In all reality, these were some of the band's strongest songs and would have made a Hell of an impact if put together as a full-length album. At any rate, it is recommended that you track this down, in some form or another. If you can't find the original, pick up The Singles: 80-96 or The Seven Gates Of Hell - Singles 1980-1985 , which was released a bit more recently.
Side A begins with "Nightmare". This song starts with a somber acoustic part before really kicking in. It is pretty mid-paced and even the lyrics are kind of subdued. They deal with more realistic horror, rather than taking the Satanic approach that the band was known for. The vocals come across with conviction and feeling, while the guitar riffs have the feeling of a cool autumn night. And make no mistake; this music is made for a nocturnal setting. It serves to create a dark atmosphere, in an entirely different manner than previously used. This song is unique and memorable; definitely one of Venom's best.
Side B features "Satanarchist". This song is introduced by some eerie feedback and demonic voices. A faster pace dominates the track, providing a good sense of balance with the other tune. It isn't exactly groundbreaking, but it is a good, straight-forward Venom song. It's short and memorable, featuring some decent black/thrash riffs.
This is one of my favorite Venom singles, mainly due to "Nightmare" being such a killer song. As mentioned in the reviews of other singles, it really seems counterproductive that they released so many singles and yet never bothered to use them for an L.P. In all reality, these were some of the band's strongest songs and would have made a Hell of an impact if put together as a full-length album. At any rate, it is recommended that you track this down, in some form or another. If you can't find the original, pick up The Singles: 80-96 or The Seven Gates Of Hell - Singles 1980-1985 , which was released a bit more recently.
(18 Apr. 2009)
Possessed (1985)
After touring, extensively, and releasing a ton of singles and mini-albums, Venom finally returned to the studio. Possessed was released in April 1985. The album was planned before the At War With Satan L.P., in fact a lot of it was written at the time of Black Metal. It was always planned to have a collection of shorter, punchier songs and so it was made. The guitars were, again, laid down at Impulse Studios but Abaddon took some time finding a place with the desired sound for his drums. In the end he went to Sussex, to a place called Moor Hall. Unfortunately, Possessed lacks the quality of the first trilogy of Venom albums.
Perhaps the mundane nature of this record owes something to the fact that there were a vast number of singles that were released between this album and the one that preceded it. Some were among Venom's best songs and even the inclusion of a few would have made this an instant classic. What they were left with were the weakest of the bunch and trying to make a whole album of throwaway tracks was never going to go very well. Another thing that might have caused the negative backlash is that Venom didn't bother trying to 'keep up' with those bands that they had influenced. They continued to do their thing and showed no interest in going faster, heavier or darker.
"Burn This Place (to the Ground)" is one of the only standout tracks. This one blasts forth at light speed igniting hellfire with burning sulphuric rage. This fast-paced song utilizes much the same approach that is found on Welcome to Hell, simply with a little more power and force. There are certain points that hint at a brilliant riff soon to emerge, but it never quite happens. The only other decent track is "Hellchild". This is an energetic song has some very memorable guitar riffs. Mantas does a great job with the solos, matching the fury of Cronos. These would have been rather middle-of-the-road songs on the first two Venom records, but compared to the rest of the material on Possessed they seem better than they are.
This album is really dull and overloaded with mediocrity. Venom was capable of much better and this just does not meet the standard that they previously set. Between the title track of At War with Satan and all of the singles, they just had nothing left. Even the better songs on here are weak and not worth bothering with. Avoid this.
Perhaps the mundane nature of this record owes something to the fact that there were a vast number of singles that were released between this album and the one that preceded it. Some were among Venom's best songs and even the inclusion of a few would have made this an instant classic. What they were left with were the weakest of the bunch and trying to make a whole album of throwaway tracks was never going to go very well. Another thing that might have caused the negative backlash is that Venom didn't bother trying to 'keep up' with those bands that they had influenced. They continued to do their thing and showed no interest in going faster, heavier or darker.
"Burn This Place (to the Ground)" is one of the only standout tracks. This one blasts forth at light speed igniting hellfire with burning sulphuric rage. This fast-paced song utilizes much the same approach that is found on Welcome to Hell, simply with a little more power and force. There are certain points that hint at a brilliant riff soon to emerge, but it never quite happens. The only other decent track is "Hellchild". This is an energetic song has some very memorable guitar riffs. Mantas does a great job with the solos, matching the fury of Cronos. These would have been rather middle-of-the-road songs on the first two Venom records, but compared to the rest of the material on Possessed they seem better than they are.
This album is really dull and overloaded with mediocrity. Venom was capable of much better and this just does not meet the standard that they previously set. Between the title track of At War with Satan and all of the singles, they just had nothing left. Even the better songs on here are weak and not worth bothering with. Avoid this.
(18 Apr. 2009)
Calm Before the Storm (1987)
Following the release of Possessed, the unholy trio was torn asunder as Mantas left the group to pursue a solo career. To fill the void left behind, Cronos and Abaddon recruited two new guitar players. One would never have known much was going on, as the mini-albums, compilations and live records continued to be released, such as Eine Kleine Nachtmusik. The band headed to a new studio with a different producer, to record their next L.P. The result was Calm Before the Storm, released in November 1987.
While the previous record was far below average compared the earlier material, this record represents a complete departure from the Satanic-themes that Venom was known for. The music took on more of a melodic thrash/heavy metal approach while the lyrical content shifted to something akin to Dio. There are a handful of decent riffs and solos, such as on “Black Xmas”, "Metal Punk" and "Fire". These are a bit faster and more energetic than the rest, but still seem awkward and dull compared to their classic material. As for the other tracks, they’re mostly atrocious and painfully boring. The production is a bit thicker than on previous albums, but instead of sounding heavier it has a rather cheap feeling. In particular, the bass drums are clicky and annoying, something that would become more prevalent a few years later. With this kind of sound, even an album full of good material would have suffered.
Aside from the poor songwriting, the biggest problem with this is the terrible vocal performance of Cronos. The "woah-oh-oh" stuff, with the back-up vocals, has to be the most despicable thing here. It's difficult to believe that any of the band members really thought that this was a good idea. There are other parts with clean, harmonized vocals, and it all feels so out of place. Many seem to think that Cronos left the band after this album because it was so terrible, but he's the one that made it such an unbearable and distressing experience. Further condemning him is the fact that his solo project continued with this contemptible sound.
Calm Before the Storm is an abomination. This is an undeniable fact. This terrible piece of excrement gets worse as it progresses. It honestly feels like some kind of prank, as if they wanted to shock people with something so absurd. Unless you need a good laugh or simply possess a morbid curiosity that compels you to witness the grim demise of Venom, avoid this at all costs.
While the previous record was far below average compared the earlier material, this record represents a complete departure from the Satanic-themes that Venom was known for. The music took on more of a melodic thrash/heavy metal approach while the lyrical content shifted to something akin to Dio. There are a handful of decent riffs and solos, such as on “Black Xmas”, "Metal Punk" and "Fire". These are a bit faster and more energetic than the rest, but still seem awkward and dull compared to their classic material. As for the other tracks, they’re mostly atrocious and painfully boring. The production is a bit thicker than on previous albums, but instead of sounding heavier it has a rather cheap feeling. In particular, the bass drums are clicky and annoying, something that would become more prevalent a few years later. With this kind of sound, even an album full of good material would have suffered.
Aside from the poor songwriting, the biggest problem with this is the terrible vocal performance of Cronos. The "woah-oh-oh" stuff, with the back-up vocals, has to be the most despicable thing here. It's difficult to believe that any of the band members really thought that this was a good idea. There are other parts with clean, harmonized vocals, and it all feels so out of place. Many seem to think that Cronos left the band after this album because it was so terrible, but he's the one that made it such an unbearable and distressing experience. Further condemning him is the fact that his solo project continued with this contemptible sound.
Calm Before the Storm is an abomination. This is an undeniable fact. This terrible piece of excrement gets worse as it progresses. It honestly feels like some kind of prank, as if they wanted to shock people with something so absurd. Unless you need a good laugh or simply possess a morbid curiosity that compels you to witness the grim demise of Venom, avoid this at all costs.
(24 Apr. 2009)
Prime Evil (1989)
Prime Evil is the sixth full-length studio effort from the legendary Venom. However, it is from the band's dark period, post-Cronos. Released in October 1989, this record saw the band making a comeback of sorts, abandoning the wimpy feeling of Calm Before the Storm for more of a thrash metal approach. This was an improvement, but still too little, too late. After Welcome to Hell and Black Metal, Venom ceased to exist for a lot of fans. Albums such as At War With Satan and Possessed never managed to reach the same heights as their old stuff, at a time when the band really needed to deliver something extraordinary. After leaving behind their black metal days in an attempt at garnering mainstream attention, they still could have come back with an incredibly strong album and put themselves back on the map, but Prime Evil simply failed in this regard.
The worst aspect of this L.P. would have to be the awful vocal performance of Tony "Demolition Man" Dolan. He lived up to his nickname, completely demolishing any chance that these songs had at being enjoyable. Most seem to think that he was a good replacement for Cronos, since he utilized a gruff vocal delivery, but his efforts are rather uninspiring and mediocre, at best. To make matters worse, he has an irritating habit of rolling his r's, almost all the time. This is so annoying that it kills many of the songs. This could have been a better album, had they found a different vocalist or managed to, somehow, bring Cronos back into the fold. Still, there was never any possibility of this being great since the songwriting is so average. There are some pretty good thrash riffs, here and there, but the majority of the tracks are average. In some ways, this picks up from where they left off with Possessed but just like that release there is just something missing. Prime Evil lacks the one or two really killer tunes that would have helped to push it to a higher level. That said, the music is definitely more in line with the band's roots than the preceding record. Most of these songs are quite solid, just not great. The only bad ones are "School Daze" and the re-recording of "Live Like an Angel, Die Like a Devil", which only goes to show just how far Venom had fallen. The playing is a little tighter, but the atmosphere is totally gone and the vocals are horrendous.
The production is good but still more on the raw and under-produced side. The drums are slightly to high in the mix, but otherwise everything is as it should be. The band had not joined many others in going for something slick and modern, yet, and still retained an older type of sound. The guitars are the driving force and it shows in the production. If only more time had been spent on the songwriting and arrangement.
Prime Evil is a solid thrash metal album and much more worthy of the Venom name than Calm Before the Storm. However, it is average and the new vocalist makes a good deal of the material difficult to listen to with his cringe-worthy performance. This is worth a listen, nonetheless, if you are able to get past the flaws. It does not hold up to the band's older releases, but it is alright when looked at as a separate entity.
The worst aspect of this L.P. would have to be the awful vocal performance of Tony "Demolition Man" Dolan. He lived up to his nickname, completely demolishing any chance that these songs had at being enjoyable. Most seem to think that he was a good replacement for Cronos, since he utilized a gruff vocal delivery, but his efforts are rather uninspiring and mediocre, at best. To make matters worse, he has an irritating habit of rolling his r's, almost all the time. This is so annoying that it kills many of the songs. This could have been a better album, had they found a different vocalist or managed to, somehow, bring Cronos back into the fold. Still, there was never any possibility of this being great since the songwriting is so average. There are some pretty good thrash riffs, here and there, but the majority of the tracks are average. In some ways, this picks up from where they left off with Possessed but just like that release there is just something missing. Prime Evil lacks the one or two really killer tunes that would have helped to push it to a higher level. That said, the music is definitely more in line with the band's roots than the preceding record. Most of these songs are quite solid, just not great. The only bad ones are "School Daze" and the re-recording of "Live Like an Angel, Die Like a Devil", which only goes to show just how far Venom had fallen. The playing is a little tighter, but the atmosphere is totally gone and the vocals are horrendous.
The production is good but still more on the raw and under-produced side. The drums are slightly to high in the mix, but otherwise everything is as it should be. The band had not joined many others in going for something slick and modern, yet, and still retained an older type of sound. The guitars are the driving force and it shows in the production. If only more time had been spent on the songwriting and arrangement.
Prime Evil is a solid thrash metal album and much more worthy of the Venom name than Calm Before the Storm. However, it is average and the new vocalist makes a good deal of the material difficult to listen to with his cringe-worthy performance. This is worth a listen, nonetheless, if you are able to get past the flaws. It does not hold up to the band's older releases, but it is alright when looked at as a separate entity.
(19 Nov. 2011)
Temples of Ice (1991)
Temples of Ice is another one of Venom's forgotten albums. Much like Prime Evil, it features some solid but average tracks and fails to impress. The cover art does not help any, as it looks like a screen capture from a Saturday morning cartoon. Again, this album shows a band that is not concerned with proving themselves to anyone, only in making an L.P. filled with sub-par music, disappointing anyone that was still hoping that Venom would have a return to form. Released in May 1991 on Under One Flag, this rare album has been disowned by the band, since then.
The music is rather boring and generic. It is not even all that thrashy, at times. It straddles the fence between '80s hard rock and traditional metal, more than anything by this point. Dolan's pathetic vocals are still present, though now the effect is not as detrimental since nothing worth a damn has been presented, musically. The lyrical themes are much softer and more lame, rather than the occult, Satanic approach from before. Just the weak song titles and horrid artwork are enough to have the listener view the album as inferior. There are traces of Venom's old style, but mixed in with the stench of modernity. While being much better than Calm Before the Storm, the lack of a dark atmosphere and the terrible replacement vocalist make these albums exceptionally hard to enjoy. There are some interesting ideas to be found here, though none of them live up to their potential.
By 1991, thrash metal seemed to be dying out, anyway. It is too bad that the second wave of black metal did not explode for another year or two, as that might have been enough of a motivation for Venom to return to their roots and contribute, once again, to the sub-genre that they created. Instead, fans got a release that demonstrated just how much the band was running out of steam and creativity. That they could not even maintain the Thrash and ended up allowing more traditional metal and rock ideas into the arrangements was enough to prove that Venom had hit a dead end.
Temples of Ice is an interesting album and more of a curiosity than anything else. Do not bother going to great lengths to acquire this, as it is not worth the trouble and you will likely get bored of it in no time. This represents yet another missed opportunity that Venom had to regain credibility and relevance, but opted for a safe and boring album filled with bland songwriting and haphazard execution.
The music is rather boring and generic. It is not even all that thrashy, at times. It straddles the fence between '80s hard rock and traditional metal, more than anything by this point. Dolan's pathetic vocals are still present, though now the effect is not as detrimental since nothing worth a damn has been presented, musically. The lyrical themes are much softer and more lame, rather than the occult, Satanic approach from before. Just the weak song titles and horrid artwork are enough to have the listener view the album as inferior. There are traces of Venom's old style, but mixed in with the stench of modernity. While being much better than Calm Before the Storm, the lack of a dark atmosphere and the terrible replacement vocalist make these albums exceptionally hard to enjoy. There are some interesting ideas to be found here, though none of them live up to their potential.
By 1991, thrash metal seemed to be dying out, anyway. It is too bad that the second wave of black metal did not explode for another year or two, as that might have been enough of a motivation for Venom to return to their roots and contribute, once again, to the sub-genre that they created. Instead, fans got a release that demonstrated just how much the band was running out of steam and creativity. That they could not even maintain the Thrash and ended up allowing more traditional metal and rock ideas into the arrangements was enough to prove that Venom had hit a dead end.
Temples of Ice is an interesting album and more of a curiosity than anything else. Do not bother going to great lengths to acquire this, as it is not worth the trouble and you will likely get bored of it in no time. This represents yet another missed opportunity that Venom had to regain credibility and relevance, but opted for a safe and boring album filled with bland songwriting and haphazard execution.
(20 Nov. 2011)
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