Tag Archive for Venom

Venom – Interview With Cronos

Recent interview with Cronos October 6, 2020.

LINK: https://thequietus.com/articles/29031-venom-cronos-interview

The Last Laugh: Cronos Of Venom Interviewed

-John Doran , October 6th, 2020 10:44

Venom are now widely recognised as being the cornerstone of modern extreme metal. Cronos, the driving force behind the band over the last four decades, talks to John Doran about how class, geography and an accident with a gun went into shaping what they became

As heavy metal nears the end of its golden jubilee year, its rude health as a genre is exemplified by its ubiquity. There isn’t a continent – with the honourable exception of Antarctica – where it doesn’t flourish. This music, which initially only took root as an outsider interest in a handful of countries, now blossoms in the most unlikely of places and there seems to be little that various international religious, legal, political and linguistic obstacles tossed in its path can do to prevent its spread.

But this cultural agility isn’t just a geographical phenomenon. While there remains a long way for heavy metal culture to travel, especially in some subgenre scenes, it has undoubtedly come an impressive distance in terms of inclusiveness. Type “feminist black metal” into a search engine and you’ll see how big the gulf is that separates us from the almost inevitable Googlewhack of two decades or so ago. Anyone who has read the most anticipated heavy metal book of recent months – Rob Halford’s excellent Confess – will have had chance to meditate on the old-fashioned assumption that heavy metal has homophobia ingrained into it; this appears to be either a position previously overstated or one that simply doesn’t apply that rigidly any more. And if there are any genuine metalhead white supremacists reading this… well, you’re a blinkered idiot and you can prise my Duma, Boris, Divide And Dissolve, Tetragrammacide, God Forbid, Melechesh and Al Namrood albums out of my cold, dead fingers.

But when it started in 1970 and for most of the decade that followed, heavy metal in the UK was very white, very male and very working class. The class aspect of this shouldn’t come as that much of a surprise – it was born out of an industrial accident after all. Tony Iommi was working as an arc welder in a sheet metal factory in Aston, Birmingham when, on his last day, he was shifted to a manually controlled metal crimping vice and, due to lack of training and faulty machinery, he crushed the tips of the two middle fingers on his left hand, until they tore off.

A guitarist already skilled far beyond his years (after a period of intense depression) he instituted many smart hacks to get round this obvious disadvantage. He took succour from recordings of Django Reinhardt, he modelled prosthetic finger tips for himself out of plastic from a melted Fairy Liquid bottle, used light gauge banjo strings which were easier to hold down, wrote songs in E meaning the bass string of the guitar could ring out creating a fuller guitar tone, applied vibrato in order to compensate for an inability to play full power chords comfortably or precisely and eventually down tuned his guitar. All of which had a partially funnelling effect on the nascent sound of metal, emphasizing a new primitive-sounding, bludgeoning heaviness to complement rock’s already extant musical sophistication.

Ozzy Osbourne, famously, did six weeks in HMP Winson Green in Birmingham after failing to pay fines relating to a burglary charge, but this pathetic stab at becoming a criminal really only came about after he failed as a factory worker. He had formerly worked alongside his mum in the Lucas factory where his job was honking old fashioned car horns to check they were ‘in tune’, and his longest stretch of gainful employment pre-Sabbath was on the killing floor of a Digbeth abattoir. Bill Ward has told me that kids had two options on graduating from the comprehensive that he attended: the factory or the army.

By the end of the decade things in the UK hadn’t changed that much. As the exciting New Wave Of British Heavy Metal sound developed it would be incorrect to say that this was a solely working class development but characters such as doctor’s son Robb Weir of Tygers Of Pan Tang and university educated Montalo of Wytchfinde were the exception rather than the rule.

Certainly, the bands who have gone on to have the most lasting impact from this loose scene – Iron Maiden (pre-Bruce Dickinson), Def Leppard and Venom – were working class and lived in areas that were inner city and run down, heavily industrialised, or both. In fact if Conrad Lant, an aspirant teenage musician with a taste for punk rock and heavy metal, had a problem, it was that by the time he graduated from school in 1978 he wasn’t destined for a noisy assembly line or dangerous machine shop because there weren’t that many factory jobs left for him to apply for.

The year before he changed his name to Cronos, and became bass player and singer with the newly minted and foundational extreme metal band, Venom, Lant’s concerns were far more quotidian. On his last day at high school he faced the same existential question as the rest of his classmates. He laughs: “We all looked at each other and said ‘What do we do now?’ We’d never had any education about how to get a job so we all stood there saying, ‘Where do we go? Do I just go home now?’”

Crappy careers advice aside, school wasn’t a total bust flush. He attended Ralph Gardner High School in North Shields – which had boxing (rather than football, cricket or rugby) as its chief sport for boys. Fearing for his safety (the Lants had moved up from London to Tyne and Weir when he was eight casting him as something of an outsider starting at a relatively tough school) he shaved his head before his first day but once acclimatised, never cut his hair again.

The curriculum had an emphasis on practical subjects but even the foregrounding of metalwork and woodwork was a throwback to an era that had alredy elapsed, so students treated them with disdain: “It had become apparent to everybody by the mid-70s that there were no fuckin’ jobs to go to, y’know. They were joke lessons that nobody took seriously.”

He adds: “During the entire time I studied metalwork, all I made was a tiny, hand-sized vice.” With a nod to the key local industry that had been forced to its knees he adds: “That was the entire sum of it. I mean how the fuck was I supposed to build a ship with that knowledge?” This was a set of unique, alienating circumstances separating his experience from that of his parents: “The opportunities were all there when they left school. It was just after the war, the country needed rebuilding but by the 70s… We were living in a broken land with a whole load of youth who had no future.”

It’s because of this he can relate to the experiences of Ozzy Osbourne: “No wonder the guy ended up in jail because, well, needs must. You’ve got to put fucking food on the table. Ok, he made a bad decision and resorted to crime but fucking hell… who didn’t? It was just the times.”

After witnessing the Sex Pistols and the Bromley Contingent’s notoriously foul-mouthed run in with Bill Grundy on the Today show in the December of 1976, the 13-year-old Lant became radicalised – he knew exactly what he wanted to do. Luckily for him a switched on music teacher would let him and a couple of other mates skip maths and chemistry lessons so they could learn to play Beatles, Status Quo and AC/DC numbers on the guitar instead. This led to the high school outfit Album Graecum who blasted out ragged hyperspeed covers of Bowie and T-Rex numbers but with a pronounced filter: that of the angry teenage punk fan: “We played ‘Ride A White Swan’… but five times too fast!”

Cronos remains to this day a relatively fit guy and was, until a serious accident, an accomplished rock climber. This interest in keeping fit kicked off at school because he had been considering a career in the military (even though anyone who has seen a photograph of Venom on stage may find this implausible): “A lot of my friends went into the army. They went over to Ireland during the Troubles. They’d come back telling all of these stories about having bullets flying past their heads. When you’re a kid it just sounds exciting.”

A mishap put paid to this however: “We all had weapons. Slingshots and 1.77 air rifles. There used to be this big area called the wood yard where we’d go rabbit shooting. One day we were bored because we couldn’t find any rabbits, so we decided to play soldiers and started shooting at each other. And I just got the unlucky pellet. I was hiding behind a piece of wood and jumped up and the bullet went straight in my eye [laughs].

“I’m still blind in the right eye. I was lucky really – the pellet went round inside my eye socket. It’s still lodged there. But I figured it would stop me from getting accepted into the forces so I didn’t bother applying.”

But with factory work and the forces off the menu there was one other option the straight life had to offer in terms of employment.

Venom crawled out of a landscape which is all too hard to imagine now if not experienced first hand, although you can inhale dank draughts of it if you know where to look. Images of the concrete bones of the new provincial brutalism sticking through the cratered flesh of bomb-harrowed waste ground form the backdrop to Mike Hodges’ Get Carter and can be glimpsed briefly in Peter Care’s short film Johnny YesNo. Just like the factory-heavy East End of London, just like the munition works in cities like Birmingham, Coventry and Manchester; just like the Atlantic port of Liverpool and the North Sea port of Hull and the coastal targets of Plymouth, Glasgow, Swansea and Belfast, the docklands of Newcastle were hit hard and heavy during the blitz.

The fish quay and the shipyards in North Shields were among the only structures that warranted immediate repair in the pre-war years. The young Conrad Lant had played on the former as a kid and aspired to work at the latter once he left school: “I had the opportunity of actually putting my waders on and going out on the trawlers. I thought, ‘Well, if all else fails, I can do this.’ I went out a few times with the lads just sort of helping out, not as a paid job.

“On the quay there was a fish market. The boats would come in early in the morning, the fish would get unloaded under canopies and all the guys would be there putting out sheets of white paper marked with black chalk representing how much they’d caught and the type of fish.”

Fate intervened in a decisive way however. Lant talks about an incident which he still holds to be the most frightening thing that has ever happened to him: “After helping out here and there, the first time I was supposed to properly go away on the trawl-out boat, I missed it. I turned up late and they went without me. And the boat didn’t come back. They hit really bad weather. I heard some stories from other boats who said that they’d seen the guys not long before it happened. I’d been so close to going the wrong way [laughs nervously]. I still think about it. You’re like the guy who didn’t get on the flight, y’know and it haunts you. Especially when it’s that close. That traffic jam, that you get stuck in, and you’re cursing it at the time… it can turn out to be a blessing, y’know.”

He continues: “But most of the buildings that got bombed during the war were just left in ruins. I remember my mother telling us about this tobacco factory, how people used the basement of it as a bomb shelter. But one night Adolf and his boys hit it hard in the Blitz, killing a load of them. It was because this was a heavy industry area. The Nazis had to take out the shipbuilding on the Tyne and south of there, Sunderland got hit hard as well.

“Nowadays it’s all posh flats, with very expensive beautiful views. You’ve gotta be very rich to own a flat there, which is quite a change from the terrible terrible state it was in when I was growing up.”

His school band Album Graecum (“it’s Latin for dried dogshit or something”) weren’t exactly making waves so when he turned 14, Lant threw his lot in with some older lads who had already left school and were in a band called DwarfStar. Handily, they practiced once a week in a church just round the corner from where he lived. They were covering Deep Purple and AC/DC but the music just wasn’t aggressive enough for him besides, the band practiced for years but never played a single gig.

When his question on leaving school – what do I do now? – was finally answered, he ended up down the dole office in order to sign on: “They would have these two inch by two inch cards on the wall with different jobs on them. You’d have to pick one, go over to the desk and say, ‘I’m interested in this.’ I told them I was into art and music, so they said, ‘Here, you can go for this job.’ It was to be a piano tuner. I was like, ‘What the fuck? I can’t even play the piano, let alone tune one!’ It was an example of how they had no plan for how to deal with all of this unemployment.”

Persistence at the job centre actually paid dividends six months after he left school. Figuring he liked music and liked art, he took a card marked ‘Audio Visual’ to the counter and found out there was a part time job going at Impulse Studios in Wallsend (which would become a notable location in the NWOBHM story, as some key albums that came out on local label Neat would be recorded there). Finally, there was a job for the wannabe punk rock, trainee son of Satan that was more suitable than tuning pianos… And it was via the studio that he met a local band called Guillotine who were looking for a new guitarist: “Meeting up with those guys, seeing that they had a decent drum kit, Marshall stacks and that they were a lot more together than the guys in DwarfStar, made me think, ‘This is a step in the right direction, toward being in a fucking real band.’”

Guillotine rehearsed in a different church hall. A big, high-ceilinged room attached to Westgate Baptist Church in Arthurs Hill. Lant says: “When I first went down to meet them they were a covers band. They did ‘Doctor Doctor’ by UFO. It was obvious the guitarist [Jeff Dunn] was trying to model himself on KK Downing. He had the flying V, the blond hair, the moustache. I saw him and thought, ‘Here we go.’ The drummer [Tony Bray] was a big Deep Purple fan who was into glam rock. He would come to rehearsal with bright yellow boots on and different colours sprayed in his hair. They already had a singer called Clive [Archer].” Lant was on second guitar and the line up was completed by Alan Winston on bass – although he didn’t stay long. Winston quit a week before a small gig, leaving Lant to switch instruments: “I borrowed a bass guitar and had to learn the songs. I only played them on the top string, but I plugged into my Marshall stack through all of my Big Muff pedals and that’s when the bulldozer bass sound was invented. It created this huge raaaaaawwrrrrr! bass sound. It was like,’Oh, I’m gonna stay with this instrument!’”

Lant told them that he thought they should be doing original material and it turned out both he and Dunn had been writing songs. They pooled their ideas and came up with their first set, which they eventually recorded simply by placing an old Sony cassette recorder with a small external mic at the other end of the large hall and taping one of their practice sessions. This recording has recently become available as part of the Sons Of Satan early recordings and demos compilation and features the tracks ‘Angel Dust’, ‘Buried Alive’, ‘Raise The Dead’, ‘Red Light Fever’ and ‘Venom’.

If it seems odd that the band who ushered a less ambiguous and more approving brand of Satanic glamour and fascination into the heavy metal genre honed their skills in a church hall, the reason is somewhat prosaic: “The priest didn’t have a clue [laughs]. If he’d known we were standing in his church singing ‘In League With Satan’ he would have thrown us out.” The band – who all had day jobs met up once a week at the church to play. In fact, at this point Lant was still playing with DwarfStar in the evenings, so while the sound that would eventually become the most notorious, Satanic subgenre of rock ever birthed, True Norwegian Black Metal, he was actually attending two different churches a week… religiously.

Right from the beginning it was Lant who was pushing the band into much darker lyrical territory. While Dunn was responsible for the songs that hymned more traditional rock & roll pursuits such as sex and drinking, Lant tended to focus in on all things occult. He explains: “I’ve always loved lyrics, so it’s always been the thing that I’ve mainly concentrated on. I’ve always been fascinated with Rush for example, the way Neil Peart would write songs with science fiction themes for albums like 2112. That’s been a massive influence on the way I write.

“If I can, I write lyrics to make people think, ‘What the fuck’s he talking about there?’ With a title like At War With Satan – the number of people who ask, ‘Does this mean you’re fighting with Satan or against him?’ And I’m like, ‘Dude… that’s for you to work out.’ You have to read the lyrics to see which angle I’m coming from.

“I wasn’t really thinking of shocking people though. I used to listen to Sabbath and Ozzy would go, ‘What is this that stands before me? … Oh god help me!’ And I would think, ‘What the fuck are you doing!? You just spoilt the song!’ So I thought, ‘Right – well I’m gonna be that thing that stands before you. I wanna be that fucking demon who you’re afraid of.’ So I wanted to do that lyrically because I knew nobody else was doing it. I said to the guys one day, ‘I’m gonna be the personification of the thing that even Satan is afraid of’ [laughs]. I’m gonna be the baddest of the bad, y’know. You want someone to be Dracula? Ok, I will put my hand up for that and be Dracula because nobody else wants to. That sort of thing didn’t shock me. I love horror movies and books. When I see some of the younger bands, especially the visual side of them, like Dimmu Borgir, Immortal, bands like that, that’s exactly where I was going.”

Despite writing to various labels, they didn’t get any interest via the tape, which was admittedly quite lo-fi. The sound, scrappy as it already was, had been overwhelmed by natural reverb created by the size of the hall and their curious decision to place the tape recorder as far away from themselves as possible. Lant found this frustrating as he was getting used to seeing local heroes such as Raven and Tygers Of Pan Tang gaining traction outside of Newcastle – he was aware a scene was developing in real time as he was watching from the sidelines. They upped the ante by indulging in what could be called, by today’s standards, a rebranding exercise.

On the suggestion of their roadie, they changed their name from Guillotine to Venom but also adopted stage names themselves. Lant became Cronos, Dunn became Mantas, Bray became Abaddon and Archer, in for a penny, in for a pound, took on the name Jesus Christ. Cronos says: “It just made sense to rename ourselves as well. We all decided on it really. It just seemed daft to call ourselves Venom – the Sons of Satan – featuring Conrad, Jeff, Clive and Tony.”

Cronos realised that he somehow needed to make a connection between his band and his day job at Impulse. He had trained as an assistant engineer and tape operator and in April 1980 he agreed to work evenings with the senior engineer on late sessions for no extra pay, in return for the band getting a session for free. He then secured a reel to record the session on by washing the studio owner’s car.

His only desire was to get a workable demo together as his band was stuck in stasis without one. With three tracks ‘Angel Dust’, ‘Raise The Dead’ and ‘Red Light Fever’ in the can, they had a cassette to send to people where you could actually hear what was going on.

When sending these demo tapes out he even went as far as using a pencil to wind the cassette forward slightly past the run in tape, so that if the tape was returned he could tell if it had been listened to or not. In one memorable case, that of EMI, the tape had been played but the reaction was not great. Someone painstakingly used scores of keystrokes on a manual typewriter to send them back a simple message: “Dear Venom, FUCK OFF”.

But someone was paying attention. Heavy metal gatekeeper, Geoff Barton of Sounds played the cassette in the office of the weekly causing all the other journalists present to vacate the room. Remembering the occasion for Classic Rock some time later he said: “I had never heard anything like it. It was like being a living, breathing, tormented character in an Exorcist movie. Only Venom didn’t just make Linda Blair’s head revolve like some child-friendly funfair roundabout; instead the band ripped her cranium from her shoulders, brandished it triumphantly above their heads and then smashed it down through splintered floorboards, to be reduced to grey ashes in the incandescent kingdom below.”

He put all three songs on his Sounds playlist and suggested that Neat records think seriously about giving the band a deal – which they did. Neat suggested that Venom go back to Impulse in order to record one of the studio’s £50 demos – essentially a cash strapped band would record as many songs to two inch tape as is possible in four hours with no overdubs and little other than live to tape playing. This left them with yet another demo featuring ‘In League With Satan’, ‘Angel Dust’, ‘Live Like An Angel’ (with Cronos on vocals), ‘Schizo’ and ‘Venom’. And on the basis of that Neat offered to put out their first record. Lasting damage had already been done to Jesus Christ’s faith in the band however and he left by mutual consent. As Cronos was already singing ‘Live Like An Angel’ in their live sets (while Jesus Christ had a costume change), it seemed natural for him to step up to the plate and Venom the power trio who were just about to release their debut single, ‘In League With Satan’ were born. Before long, two of the most important albums in extreme metal – Welcome To Hell and Black Metal – would be unleashed on the world.

Like most young bands, Venom weren’t thinking about heritage, they could only see the next staging post. Once Cronos had a band he wanted a recorded document on cassette. Once he had a tape he wanted a more professional sounding demo. Once he had a more professional sounding demo he wanted a record deal. At no point was he thinking about the 40-year legacy of the group or the impact they would have across the Atlantic on the developing thrash metal scene or up in Scandinavia in the burgeoning black metal movement: “No one said, ‘Oh we’ll still be doing this in 20 or 30 years time.’ But at the same time, we did try and pace ourselves. We didn’t want to burn up and be gone quickly. We weren’t selling millions of records so there wasn’t much money to play with but we did stuff that was unheard of like hiring the Hammersmith Odeon and selling the fucker out when nobody really knew who we were. We weren’t in a rush. We did feel like we had all the time in the world.”

When talking about all of the multiple strands of metal that the band would go on to influence, it’s perhaps easier just to say that Venom were the first truly important band when it came to extreme metal – the Satanic Geordie midwives to all of the astounding leaps forward that happened during the 80s, 90s and beyond: “I love the idea of extreme metal. I just think you can’t go too far… so long as it’s just within the music y’know. The further the better, the more extreme the better, the more notorious, the more hardcore.”

But of course, now it’s 40 years later he’s obviously had a chance to reflect on Venom’s legacy but doesn’t seem overly obsessed with it: “I just think when people say, oh Venom started this, or Venom started that… what I would say is that we were a catalyst. I think all of this music we see around us today was always gonna happen, I just think somebody needed to kickstart it, and that’s what we did.”

And he laughs, because he knows it’s far beyond good enough.

Sons Of Satan by Venom is out now

With thanks to Michael Hann

Interview With Cronos From Venom

VENOM: 2019 Interview with Cronos from www.kerrang.com . LINK:https://www.kerrang.com/features/venoms-cronos-without-us-bands-like-slayer-wouldnt-exist/ Venom’s Cronos: “Without Us, Bands Like Slayer Wouldn’t Exist” Venom’s longstanding frontman Cronos talks us through his band’s legacy In the pre-digital age, records released in the 1980s would sometimes feature on their back sleeve a small symbol of a cassette tape and crossbones. Beneath this image…

VIDEO: Venom-40th Anniversary Box Set Trailer


Venom announce new double CD and vinyl box set for 40th anniversary, out May 31 though BMG Music.

PRE-ORDER HERE: https://venom.tmstor.es/?lf=1077af4f423502824cdd9d844f6f6914

The Double CD Titled “Venom – In Nomine Satanas 40th Anniversary Deluxe Box Set And Anthology” is a 43 Song Compilation with features two unreleased tracks for $19.99 USD and is also available as a Double lp for $32.99 USD.

Also available for $193.99 USD is a 8 lp Venom vinyl lp box set which contains 4 Venom lp’s plus two double lp’s including a live album and unreleased Venom Demos.

The Vinyl box set includes the first for Venom albums on colored splatter vinyl “Welcome To Hell”, “Black Metal”, “At War With Satan” and “Possessed”.

The set also includes the Venom double live album “Eine Kleine Nachtmusik” on 2 lp and a new 2 lp set of Venom demos called “Sons of Satan”.

The box set also comes with collectable merchandise including a book written by music journalist Dom Lawson from new interviews with Venom as well as rare photos. A 90 x 60 cm two sided Venom poster, reproduction of their 1984 “Seven Dates of Hell” tour programme and a Venom’s Legions back patch.

The first 300 orders from the official Venom store will receive an autographed Cronos art card.

Venom are an English extreme metal band formed in 1978 in Newcastle upon Tyne. Coming to prominence towards the end of the new wave of British heavy metal, Venom’s first two albums—Welcome to Hell (1981) and Black Metal (1982)—are considered a major influence on thrash metal and extreme metal in general. Venom’s second album proved influential enough that its title was used as the name of the extreme metal subgenre of black metal. The band classic line-up trio of Cronos, Mantas and Abaddon recorded two further studio albums At War With Satan (1984) and Possessed (1985) and live album Eine Kleine Nachtmusik (1986). Often cited by bands such as Metallica, Behemoth, Celtic Frost and Mayhem as major influences, they are one of the most revered bands of their generation.  Venom are still fronted by original singer/bassist Cronos and headline festivals all over the globe and continue to release new music. In Nomine Satanas is a celebration of the bands formative years, containing all the classic line-up albums and an album of previously unreleased demo songs that dates back to 1979 when the formed.


1. Welcome to Hell
2. Angel Dust
3. In League with Satan
4. In Nomine Satanas – single version
5. One Thousand Days in Sodom
6. Bloodlust – single version
7. Black Metal
8. Buried Alive
9. Countess Bathory
10. Teacher’s Pet
11. At War with Satan – Intro
12. Die Hard
13. Stand Up (And Be Counted)
14. Women, Leather and Hell
15. Warhead
16. Lady Lust
17. Woman
18. Manitou
19. Satanachist
20. Too Loud (For the Crowd)
21. Possessed
22. Nightmare


1. Sons of Satan – 1980 demo (previously unreleased)
2. Raise the Dead – demon version
3. Red Light Fever – demo version
4. Angel Dust – 1980 demo (previously unreleased)
5. F.O.A.D.
6. The Chanting of the Priests (live)
7. Sadist (Mistress of the Whip)
8. Witching Hour (live)
9. Dead of the Night
10. Acid Queen
11. Bursting Out
12. Bitch Witch
13. 7 Gates of Hell
14. Dead On Arrival
15. Hounds of Hell
16. Schizo (live)
17. Leave Me In Hell
18. Senile Decay (outtake)
19. Snots Shit
20. Aaaaaarrghh
21. Venom


Welcome To Hell
(Remastered from original tapes on splatter vinyl. Comes with reproductions of original poster and insert with an embossed cover.)

Side A

1. Sons of Satan
2. Welcome to Hell
3. Schizo
4. Mayhem with Mercy
5. Poison
6. Live Like an Angel (Die Like a Devil)

Side B

1. Witching Hour
2. One Thousand Days in Sodom
3. Angel Dust
4. In League with Satan
5. Red Light Fever



Black Metal
(Remastered from original tapes on swirl vinyl. Comes with reproductions of original poster and insert with an embossed cover.)

Side A

1. Black Metal
2. To Hell and Back
3. Buried Alive
4. Raise the Dead
5. Teacher’s Pet

Side B

1. Leave Me In Hell
2. Sacrifice
3. Heaven’s On Fire
4. Countess Bathory
5. Don’t Burn the Witch
6. At War with Satan


At War With Satan
(Remastered from original tapes on splatter vinyl. Comes with reproduction 6 page roll fold booklet and leather book effect cover.)

Side A

1. At War with Satan

Side B

1. Rip Ride
2 .Genocide
3. Cry Wolf
4. Stand Up (And Be Counted)
5. Women, Leather and Hell
6. Aaaaaarrghh


(Remastered from original tapes on splatter vinyl. Comes with reproductions of original poster, insert and sleeve on mirror board.)

Side A

1. Powerdrive
2. Flytrap
3. Satanachist
4. Burn This Place (To the Ground)
5. Harmony Dies
6. Possessed

Side B

1. Hellchild
2. Moonshine
3. Wing and a Prayer
4. Suffer Not the Children
5. Voyeur
6. Mystique
7. Too Loud (For the Crowd)



Eine Kleine Nachtmusik
(Pressed on half and half vinyl. Comes with reproductions of original gatefold and inserts.)

Side A

1. Intro / Too Loud (For the Crowd)
2. 7 Gates of Hell
3 .Leave Me In Hell
4. Nightmare
5. Countess Bathory

Side B

1. Die Hard
2. Schizo
3. Guitar Solo – Mantas
4. In Nomine Satanas
5. Witching Hour

Side C

1. Black Metal
2. The Chanting of the Priests
3. Satanachist
4. Flytrap
5. Warhead

Side D

1. Buried Alive / Love Amongst the Dead
2. Bass Solo – Cronos
3. Welcome to Hell / Bloodlust

(Shaped 7” picture disc single)

Side A

1. Bloodlust

Side B

1. In Nomine Satanas


Sons Of Satan
(New album of previously unreleased demos. Pressed on swirl vinyl. Gatefold cover)

Side A

1. Angel Dust – Church Hall Rehearsals 1979
2. Buried Alived – Church Hall Rehearsals 1979
3. Raise the Dead – Church Hall Rehearsals 1979
4. Red Light Fever – Church Hall Rehearsals 1979
5. Venom – Church Hall Rehearsals 1979

Side B

1. Sons of Satan – 1980 Impulse Studios – £50 Demo Recordings
2. In League With Satan – 1980 Impulse Studios – £50 Demo Recordings
3. Angel Dust – 1980 Impulse Studios – £50 Demo Recordings
4. Live Like an Angel (Die Like a Devil) – 1980 Impulse Studios – £50 Demo Recordings

Side C

1. Schizo – 1980 Impulse Studios – £50 Demo Recordings
2. Venom – 1980 Impulse Studios – £50 Demo Recordings
3. Angel Dust – Impulse Studio Demo Session 1980
4. Raise the Dead – Impulse Studio Demo Session 1980

Side D

1. Red Light Fever – Impulse Studio Demo Session 1980
2. At War With Satan – 1983 Impulse Studio 2 – At War Demos

12” x 12” book of the story of Venom written by renowned Heavy Metal journalist Dom Lawson from new interviews with Cronos, Mantas and Abbadon. Featuring previously unseen and rare photos and memorabilia.


12″ x 12″ art print signed by Cronos. (First 300 Orders Only)



90cm x 60cm 2 sided poster of ‘Seven Dates Of Hell’ tour poster.

Reproduction ‘Seven Dates Of Hell’ tour programme.

Venom’s legions back patch.

VENOM – Interview With Cronos – Part 2

Interview with Cronos from Venom Part 2, Cronos talks about taking Metallica out on tour with Venom in 1984 when they first started and more.


From: “The Consequence Of Sound“:

LINK: https://consequenceofsound.net/2019/01/venom-cronos-interview-part-2-metallica-dave-grohl-more/

Venom’s Cronos on Touring with Metallica, Working with Dave Grohl, Modern Metal, and More

The metal veteran also tells stories about the Beastie Boys, Brian Johnson and more

Although Venom are 15 studio albums deep into their career, the band’s longtime singer-bassist Cronos surprisingly admits that he still doesn’t feel like he’s “made it” — despite influencing countless metal acts over the years.

But with the arrival of the group’s latest offering, Storm the Gates, few veteran metal bands have remained as ferocious sounding as Venom this far into their career.

We recently ran Part 1 of our interview with Cronos, where Venom’s long-time leader discussed his band’s influence on other bands, silly record label advice from back in the day, and refusing to embrace the mainstream, among other subjects.


In Part 2 of our interview, Cronos talks about how Venom gave Metallica one of their first big breaks, befriending Brian Johnson before he was even in AC/DC, getting sampled by the Beastie Boys, and why he considers most modern metal bands to be “Crap! Fuckin’ crap!”


It was a great time. And it was a good time for those guys to actually be able to hit the European shows. We were looking for bands like us, because as we always said, “We have a different crowd. We’re not pulling the same kind of crowd that would go and see… Mötley Crüe or whatever.” A friend of mine used to have a bootleg stall, and he came to me one day with a VHS tape, and said, “I’ve seen this band in San Francisco, and they are just like you guys.” And it was a Metallica show, with Dave Mustaine wearing his Welcome to Hell shirt.


So, when we got the opportunity to get in touch with Jon Zazula and go over there, we said, “There’s a band on the other side of the country…” Now, we traveled 3,000 miles from England to New York, and those guys traveled 3,000 miles from the West Coast to New York, so that’s fair — we’d meet in the middle. And then after that, I remember I told James [Hetfield] that story, and he said, “Oh no, no, no. There is a band that’s really, really like you guys.” And that’s when he told us about Slayer. He said, “There is a band in LA just like you guys.” And then from there on, it went from Exodus and everybody started coming out — it was amazing.


But the Metallica boys, they’re hardworking guys. Fuckin’ hell, I couldn’t take that away from them. We were getting to the end of the 7 Dates of Hell Tour in Europe [in February of 1984], and we were all getting ready to go home and put our feet up and start working on the next record. And I said, “What plans have you guys got?” And I remember Lars said, “We’ve lined up our own tour.” And I was like, “Wow, you guys never stop!” I don’t give a shit if people say, “This album is terrible or that album is terrible.” Every band that has a long career is going to have good and bad releases. And I don’t give a shit about what people say about Metallica’s career as a whole — they were hardworking guys in the early days, and nobody can take that away from them.


He’s a very good friend of mine — he lives up the road from me. He just lives around the corner, really. I remember when I first went to his house with my first single, and he was saying, “Yeah! The apprentice rock star!” [Laughs] Yeah, Brian’s been a good friend. He was in a local band in Newcastle, called Geordie, and they used to do covers by Nazareth. He’s got that kind of a voice, like Dan McCafferty. So, he was perfect for AC/DC. I heard the stories straight away — when he went for the audition, he met the guys in the pool room, had a couple of games of pool and a couple of beers, then went in, went through “Whole Lotta Rosie” and a couple of other tracks, and Angus and the boys looked at each other and said, “We’ve got our man.” That’s so understandable, because Bri is such a down-to-earth guy. He’s a very private guy — he keeps to himself. I haven’t seen him since he’s left the band, unfortunately. He’s off spending time with his family. But I’ll bump into the guy soon, I know I will.


That was great. The Beastie Boys are the Beastie Boys — they’re just trying to have fun. A lot of people get offended by them, but I don’t see how you can get offended by those guys. They came and did some shows here in England, and when they got to Newcastle, they couldn’t stop talking about Newcastle Brown Ale — the beer. And all night onstage, “Cronos lives in Newcastle! Yeah!” Those guys don’t mean any harm. If people take them wrong… then get a sense of humor guys, come on.


Bored politicians’ housewives with nothing better to do. Trying to please their friends in their communities. It was all based on nothing — it’s ridiculous. Whatever happened to freedom of speech? Look, the only the way trends can develop and change is with freedom of speech, and trying out new ideas. And as we know, many bands come and go and they never make it. And for all the bands out there, it’s a small percentage that really do make it at the end of the day. But when you start curbing what you can and can’t say, well, for fuck’s sake.


Yes, people do cross the line, but that’s in the name of freedom of speech. There was some American comedian that wanted to come here to the UK, and he had a really sexist show, and he got stopped and they wouldn’t give him the visa. And everybody in England was ticked off, because we were like, “No, no, no. Let him come. Let him face his critics. Because if he is up on stage saying racist and anti-feminist things and all the rest of it, well then, let’s hear it — it’s his point of view.” But I don’t think you should ever stop this sort of thing — unless somebody is breaking the law, well then, you should let people have freedom of speech. It’s the same thing, really.


Come on, Dave is such a fuckin’ nice guy. He’s such a professional. And there’s just no ego or airs and graces about the guy — he’s just so flat down-to-earth and straightforward. And also, an absolutely amazing musician. Working with him was such a great thing, that there were no industry people involved. Me and Dave spoke to each other — we did the deal together. We didn’t have to have big lawyers fighting over paperwork. When Dave actually sent me the music, he sent me the music for the whole album, and said, “Track #7 or whatever it was is what I was thinking of for you. But to get a feel of the album, here is the rest of the music.”


I took the song that he had for me and basically wrote three separate sets of lyrics, and I sent him a rough mix of the three different ideas. One of the versions was a bit like, “Hanging out with the guys, going for a beer, rock n’ roll,” and another was a bit sleazy — prostitutes and bars. And then the third one was kind of the Satanic element. And Dave came back, and said, “I want the Satanic element!” So, I put the bass on and did the vocals. It never was really intended to use the bass, because he’d only asked us to do the vocal. But I put the bass on anyway, and said, “Look, use it if you think it adds to the track. If not, then I’m happy for you to just use the vocal.” But he also used the bass, which I was really proud of. But Dave is Dave — he’s fuckin’ great.


Crap! Fuckin’ crap! Honestly, I’ve been saying this for so long now. The thing is, you’ve got a lot of people who are now just taking other people’s music on the internet, instead of creating their own. The creative side of the world seems to have hit a brick wall. Now, we haven’t had any new music or fashion explosions at all now — for at least the last 20 years. When you think back to the rock n’ roll thing of the ‘50s, the peace and love thing and Hendrix in the ‘60s, the glam stuff that came out in the ‘70s, punk, and then hip-hop… but then it stopped.


But that came with the birth of the internet and all these people making these YouTube channels. I was sitting and watching this one guy, and he said, “I started a band. I tried to make it with the band for a couple of years, but I wasn’t getting anywhere, so I put a YouTube channel together, and just used other people’s music and other people’s ideas, and now, I’m able to get the YouTube royalty.” And I’m going, “Wow. Two years… that’s all you’ve spent? Two fuckin’ years? I’ve been doing this for 40 years, and I still don’t really feel like I’ve made it! Come on, two years?! You fuckin’ wimp!”


But I think it’s what’s affecting music is the lack of originality and the lack of purpose and the lack of conviction. I think people need to look at themselves and reevaluate. Because without new ideas, this whole scene is just going to get stale. But I don’t know, I’m looking at these magazines now, and looking at these young bands, and I’m thinking, “They all look the same. They all sound the same.” To me, the only bands worth going to see are all the established bands – the Metallicas, the Megadeths, the Slayers, the Venoms, the Dimmu Borgirs, the Immortals, the Behemoths. These are the bands that are still doing something up onstage that is exciting and good to watch and listen to. But these newer bands, you could swap members, and you wouldn’t even know there was any changes. Name the drummer — nobody knows. Name the guitarist — nobody knows. Which band is this? Who does he play drums for? Nobody knows. The whole thing appears to have been watered down.


Our thanks to Cronos for taking the time to speak with us. Pick up Venom’s latest album, Storm the Gates, via various outlets at this location.

LINK: The True Story Of Venom

LINK: The True Story Of Venom

From www.loudersound.com , originally printed in Classic Rock Magazine #67 Janurary 2006.



The true story of Venom, the most influential NWOBHM band of them all

So who were the most important band to emerge from the New Wave Of British Heavy Metal? Iron Maiden? Def Leppard? Nope. It was Venom, Geordie Devil-worshippers who invented a brand-new genre


Dateline: June 5, 2003. This news just in: Drummer Lars Ulrich is furious at news that the US military is using Metallica songs to ‘break down’ Iraqi captives in Baghdad.


A little under a year later, and with post-war Iraq in a state of anarchy, some might consider Ulrich’s remarks to be something of a soundbite by themselves. The more cynical may even believe that instead of standing for ‘weapons of mass destruction’ the term WMD could also refer to ‘worries about Metallica downloadability’. But I’d prefer to think that Ulrich, in an open-hearted, post-therapy way, was simply being sentimental. Reading between the lines of his comments, he was probably just trying to be helpful and revive some interest in his old mates’ back catalogue. Because Metallica’s relationship with Venom – the notorious Geordie three-piece who first invited us to sample their own, uniquely dangerous brand of Angel Dust back at the turn of the 80s – goes back a long way.


It was after a show with Venom in New York that then Metallica guitarist Dave Mustaine (later of Megadeth) had a huge bust-up with guitarist/vocalist James Hetfield. Mustaine was left bloodied and bruised, and was told he was within a Metalli-metre of losing his job. It turned out to be a very real threat, in fact, because Mustaine managed only one more gig with the band (supporting The Rods) before being sent packing with First Aid kit in hand, and Exodus’s Kirk Hammett was ushered in as his replacement with almost indecent haste.


Later, Mustaine recalled: “Generally, James was a gentle person when we were together but he liked very violent music. We would drive at 60 miles an hour up and down the Pacific Coast Highway in the fog, drunk and listening to Venom.”


Moreover, Venom gave Metallica their first big break in Europe 20 years ago, when the band invited Lars & co over from California to support them on tour. The dates kicked off in February 1984 in Zurich, Switzerland, and covered Germany, France and Belgium before finishing up at a fledgling thrash-metal festival in Holland.


So was that tour with Metallica as momentous as it sounds? It’s about time Venom leader Cronos was given the chance to have his say.


“Did Metallica support Venom on numerous occasions?” spits the bassist/vocalist, who these days increasingly uses his real name, Conrad Lant. “Someone should remind them of that; they appear to have forgotten. I read an article with Arse Ulrich the other day where he said the start of their career was on a Motörhead tour. Cor blimey, fancy that, eh? You see what the dangers of fame can do – erase your memory and make you wear girls’ make-up.”


Laughing (better make that cackling), Cronos continues: “I remember having a good time with them, actually. We didn’t want a ‘rock band’ to support us. And I’d been sent a cassette [Metallica’s Metal Up Yer Ass demos] and some dodgy video footage of them in San Francisco, and I thought they were quite Venomous; they were wearing Venom shirts on stage if I remember rightly. This was when Mustaine was still with them. So we asked them to support us on our first mission to the States in 1983, then again on our seven-date European tour a year later. The last gig we did together was when they supported us at the Loreley Festival in Germany in 1985.”


Cronos went to see Metallica years later when they played Whitley Bay Ice Rink. “I got chased by security when they saw me light up a massive reefer,” he growls, “but I escaped and got into the snake-pit. I had a laugh jumping around in a mosh dance with the fans, then I got Hetfield’s attention and mouthed the words: ‘Get off, you’re shit.’ It took him about two seconds to realise it was me.


“I went backstage after the show and had a few beers with them, then I went walkabout with Arse looking for any loose women. It was good to see them again, and they were friendly enough. Good luck to them, really.”


I apologise for that lengthy anecdotal opening, but I think it’s important to place Venom in a little bit of context before we get to the bloody heart of the matter. I’m also hoping that those early Metallica connections might help convince you of Venom’s pivotal importance in the great heavy metal scheme of things. And if they don’t… well then you better fasten your seat belt, because I haven’t finished yet. Before long I’m going to urge you to forget all about Iron Maiden or Def Leppard or Saxon or Diamond Head even, and advise you to worship instead at the pagan altar of Venom. Because that band were – indeed still are, and without a skin-grating shred of a doubt – the single most important act to be thrown up by the New Wave Of British Heavy Metal. (And yes, by ‘thrown up’ I do mean ‘vomited’.) This, in turn, would certainly place Venom among the top 10 most influential UK rock bands of all time. Which isn’t bad for an oft-derided dumb-ass trio of pyrotechnic-obsessed Satanists from Nukecastle.


As Lars Ulrich once said: “[The first Venom album] Welcome To Hell was a classic! Black metal, speed metal, death metal, whatever you want to call it, Venom started it all with that one record!”


Alternatively, as Jon Bon Jovi would have it: “This is the sort of shit that gives heavy metal a bad name.”


That’s Venom for you: a legend in their own demise.


It all began with Elvis Presley. As it often does. “I started listening to music at quite an early age,” Cronos snarls. “Elvis was my hero. Then I moved on to David Bowie, T.Rex, Status Quo and Led Zeppelin. But my serious, hardcore life-changing experience came with the Sex Pistols.”


The punk era in the mid-70s, it appears, was exactly what Cronos craved. “People like me needed to rebel,” he grumbles. “We needed to stick a middle finger up to the establishment and say: ‘Fuck you. We have our own ideas, our own rules.’ I told people that Johnny Rotten was my dad, even though he would only have been about six when I was born. And I used to tell people that I was the drummer in The Clash, even though I couldn’t play drums. But I was a member of the Sham [69] Army, hence the Doc Martens I always wear, and we used to roam the streets getting into drunken fights for the hell of it. Ah, them were the days!”


Cronos played in a band with school friends, “but we just made a racket, same as now really,” he snaps. “I just thought it was such fun that you could kind of make it up as you went along, and considering I’d been acting in plays from a very young age, learning and memorising the whole script, which is great fun and hard work, I was totally relaxed on a stage in front of an audience. But with acting you have to read other people’s lines, so playing music was like a spontaneous outburst. We just jammed on any riffs we could come up with and shouted out the words on the spur of the moment. Those were good times.”


After he left school, Cronos got a job at Impulse Studios in nearby Wallsend. Impulse would later become the epicentre for a series of vital NWOBHM recordings on the Neat Records label. (The first of those releases was catalogue number Neat 03: the Tygers Of Pan Tang single Don’t Touch Me There). Bands such as Raven, White Spirit, Fist, Avenger and, of course, Venom would follow.


“I applied for a job on a training scheme for an audio-visual engineer, and I went for an interview at Impulse. This was in 1979, and there was no Neat at this point,” Cronos lacerates. “I trained as an assistant engineer and tape operator, which was a good laugh. The senior engineer used to walk in the studio and skin up a joint or 20 and we’d get battered before the band of the day came in; this was very normal then. Most of the bands arrived with crates of beer or bags of coke. There were even orgies when some of the musicians brought slags in from Whitley Bay who they’d met the night before. The managing director turned a blind eye to everything and just sat downstairs with his Special Brew and Café Crème cigars.”


In the meantime, Cronos continued to play in bands; he was guitarist in an outfit called Album Graecum (“We read in a book that it’s Greek or Latin for ‘dried dogs’ shit’”) that later metamorphosed into DwarfStar.


“One day I chatted up a girl who worked in the local burger bar and she asked me around to her house,” Cronos bellows. “Jeff [Dunn, later to become Venom guitarist Mantas] was there with a girlfriend and we got chatting. He said he was in Guillotine, a Judas Priest covers band – he was the double of [Priest guitarist] KK Downing in those days; he even had a Flying V. I told him about DwarfStar and how we did dark, demonic stuff with pentagrams et cetera – like Black Sabbath but much more evil – and about my masterplan to create a mega-satanic band.”


Dunn’s eyes lit up: “I wanna do stuff like that!” he exclaimed.


Cronos soon met up with Dunn’s band and thought, “with a few changes they would be more suited for what I had in mind. There were some underlying problems with DwarfStar anyway, so I left them and joined up with Jeff’s lot; the band had actually renamed themselves Venom by this time. I met the drummer, Tony [Bray, soon to adopt the pseudonym Abaddon], at the first rehearsal; he was buddies with the singer, Clive Archer.”


Cronos was initially the second guitarist in a five-piece Venom. “But within a short while the bassist [Alan Winston] left just before a small gig we had planned, so I got a loan of a bass from a friend at the studio and plugged it into my stack, effects pedals and all, and the unholy bulldozer bass was born!”


At this point the Venom members decided to change their names to match their burgeoning Devil-may-care approach. “As we were rehearsing some new songs and going through stage-gear ideas at rehearsals, I mentioned that as some of the Sex Pistols had pseudo names we should do the same,” Cronos screams. “It just made sense to call ourselves something more hardcore than Conrad, Jeffrey, Clive and Anthony. Clive’s stage name was Christus or something like that.”


In a 1982 interview with Garry Bushell, Cronos elaborated: “They’re more than stage names, they’re states of mind. It’s sort of like a possession. We actually feel possessed before a gig. We start getting really angry and mad. We have to have a fight before we can go on stage… it’s the only way we can play.”


One day Clive ‘Christus’ Archer failed to turn up to a Venom rehearsal. He was apparently disgruntled because his back garden had been destroyed – it had been used as testing ground for Venom’s pyrotechnics. Cronos wasn’t disappointed: “Clive was painting his face like some bands do nowadays,” he guffaws. “I used to have to watch him while he stood still waiting for his make-up to dry, ha-ha!”


In Archer’s absence Cronos “sang some tracks just so we could get on with rehearsals, and it worked really well,” he roars. “It was after this that Jeff wrote the song Live Like An Angel (Die Like A Devil) and said he wanted me to sing on it. We did a rough recording of the track, and the decision was made to get rid of Clive. This was when we turned into a three-piece.”


But for all Cronos’s blusterings, no one in the north-east was taking Venom seriously at the time. As Jess Cox, ex-singer with the Tygers Of Pan Tang, recalls: “I remember Venom’s first show in Wallsend just across from Impulse Studios – it was for one of their mum’s birthdays. There were only 10 or so people in this old council hall, and the band had long metal pipes full of gunpowder on the sides of the stage. One fell over and exploded, nearly taking out all of their families in the process!”


Cox also remembers when Cronos, Mantas (at this time working as a petrol-pump attendant) and Abaddon (a labourer) came into Impulse for some early studio sessions.


“We had a laugh because it was so terrible,” Cox says. “It was just a racket with someone grunting over the top. If the truth be known, pretty much all of the bands in our local area didn’t understand the fascination with Venom. The band were truly dreadful; or maybe this was the whole idea and I missed the point?”


Cronos responds: “Mrs Small Cox is a lying turd”.


Soon enough, a Venom demo landed on my desk while I was working on Sounds music weekly. Dispatched to me by Cronos himself, for some reason I knew immediately I was on to something rather special – even if the package was rather slimy to the touch and whatever was inside it crackled like broken chicken bones. Donning a pair of surgical gloves, I extracted a three-song cassette: Angel Dust, Raise The Dead and Red Light Fever. I remember playing the tracks on the office stereo one time, and within seconds all of my fellow journos had vacated their desks and fled the building – not so much in protest; they were white-faced and panic-stricken, and genuinely seemed in fear of their lives. So I was sat alone and bewildered when I was assaulted by a terrible racket that went something like this:


“Blaaargh-blaaargh! Urk-schluurp-urk-schluurp! Wooargh! Glurg-glurg-gag-gag! Kak-kak-kak! Phludd! Spat-spat-rooargh! Phludd! Groouurf! Yeowll! Wooargh! Gortch-gortch! Yeowll! Budda-budda! Achh-acch! Yeurgh! Kuch-kerrouch-kuch! Ghungh-ghungh! Wooargh! Hargh-hargh-spew! Ug-ughh! And one last wooargh! for good measure!”


I had never heard anything like it. It was like being a living, breathing, tormented character in an Exorcist movie. Only Venom didn’t just make Linda Blair’s head revolve like some child-friendly funfair roundabout; instead the band ripped her cranium from her shoulders, brandished it triumphantly above their heads and then smashed it down through splintered floorboards, to be reduced to grey ashes in the incandescent kingdom below.


Cronos convulses at the memory: “You put the three tracks from our tape on your Sounds playlist, then you wrote a comment on the end of a White Spirit single review where you basically told Neat to release a Venom disc. Yeah, you definitely helped, Geoff. I don’t think Dave [Wood, head honcho at Neat Records] would have even considered Venom without your intervention. He always needed to be told what to release, as he didn’t understand this music at all.”


Venom debuted on Neat in 1980 with the In League With Satan single, and followed it with the Welcome To Hell album in December ’81. No one could believe their ears. The band’s music was just so heavy, evil and truly black.


I felt I had to compete with lyrics that boasted of ‘killing new-born babies’ and ‘tearing infants’ flesh’, so my five-star rave review of Welcome To Hell was satisfyingly over the top: ‘It’s the sound of sinners screaming in eternal damnation, hellfire licking at their blackened limbs,’ I wrote. ‘It’s the sound of a succubus mating orgasmically with a mortal man… it’s possibly the heaviest record ever allowed in the shops for public consumption.’


But beneath all their God-bothering splutterings, Venom’s actual music was uniquely monstrous. As I said, no band had ever sounded like this before.


“I would never, ever have wanted to be in a band like Iron Maiden or Saxon, and I didn’t want to be commercial or sound like anyone else,” Cronos gnaws. “We wanted to create music that scared people. And we succeeded.”


Even Black Sabbath were too lightweight for Cronos: “Sabbath had these lyrics like: ‘Oh no, please God help me.’ They were asking to be saved from Satan, whereas we were saying the opposite: Satan is my friend, I drink with him, I have fun with him and I want him to be by my side. We wanted to invent something like a nightmare, something truly hideous.”


The reason why Venom remain such an important band is because they invented and defined at least one, and probably several, all-new musical styles. They certainly created thrash metal, the genre that spawned bands such as Metallica, Megadeth, Anthrax, Exodus, Death, Possessed and many more in the US. Venom also gave birth (in typical Rosemary’s Baby-style) to a host of imitators in the UK and, particularly, in continental Europe: Celtic Frost, Mercyful Fate, Bathory, Destruction, no end of groups on the Earache label and from the German industrial city of Bochum, Cradle Of Filth… the list just goes on and on.


With the NWOBHM celebrating its 25th anniversary [at time of writing in 2005], it’s pertinent to point out that none of Venom’s more mainstream contemporaries – no matter how many gold and platinum albums they might have hanging on their walls these days; no matter how much they might think of themselves as having once been trailblazers – was remotely as influential. That’s an irrefutable fact. (Although in Venom’s case the acronym NWOBHM most likely stood for New Wave Of Brutally Horrible Metal.)


“I got pissed off when I saw a heavy metal chart in a music magazine that had Michael Jackson in it [Jacko’s 1983 hit Beat It, featuring Eddie Van Halen on guitar],” Cronos oozes. “That’s when I said that Venom were not heavy metal, we were much more than that. I had been playing around with various ideas, so in an interview I said we were black metal, power metal, thrash metal, speed metal, death metal, anything but heavy metal. And these terms seemed to stick.


“Venom albums contain songs from all of these categories,” he yelps, “although after we started out, bands started to emerge that would only use one. Some bands played songs like Witching Hour or Bloodlust and called themselves speed metal; some groups played songs like Buried Alive and called themselves death metal, et cetera. I could go on about this, but I think you get the picture.


“All of the acts that dabbled in the musical black arts before Venom arrived on the scene always seemed to take a sort of Hammer horror approach, or they sang about being tormented by a wizard or whatever,” Cronos disgorges. “No one wanted to actually be the Devil. So that’s my job now – I am Satan!”


This seems an appropriate point at which to bring up the subject of demented church-burning Scandinavians; those worshippers of the Horned One from the bleak and frozen northern territories of Europe. Imbeciles such as Count Grishnackh of the one-man band Burzum used Venom’s music as a template but took it to murderous extremes – yes folks, Varg Vikernes actually killed people.


“Venom were a catalyst for a whole bunch of stuff; we kick-started loads of new trends in various directions,” Cronos shrieks. “The most extreme thing to come out of England before Venom was the punk era, and nothing has topped those extremes since. Everyone now sticks to a safe image, and it’s more about marketing than doing what you believe in. Look at The Darkness, for example… although no, let’s not. The Scandinavian scene probably wouldn’t have happened if they hadn’t crossed the line and committed those crimes to get the exposure.


“I recently read about Marilyn Manson’s shit, with kids killing themselves, and the reviewer said: ‘If it wasn’t for bands like Venom then none of this dark music would be around and our kids would be safe.’ But didn’t they say the same about Elvis? Music only works if it’s an extreme. The Rolling Stones were once an extreme, but then after a while the extreme becomes the norm and a new level of extreme needs to be found. I’d murder everyone on Pop Idol, even the judges. What’s the matter with them? None of those acts are any good, kill ’em all!”


Following Welcome To Hell, further Venom albums arrived with indecent haste: 1982’s magnificently harrowing Black Metal and 1984’s semi-conceptual offering At War With Satan saw the band making great strides forward, especially in mainland Europe where they built up a formidable following. But Venom were virtually shunned in the UK; tour dates kept on being announced and then scrapped, tarnishing the band’s already questionable reputation.


Cronos barks: “We had a lot of venues in Britain pull the plug at the eleventh hour. We had sent them the first video [Witching Hour and Bloodlust] as an example of our show, and we sent them pyro specs and everything, but they mustn’t have watched them, as at the last minute some venues said we couldn’t use pyro. This has plagued us all the way through our career.”


In fact Venom had ambitions to emulate Kiss’s stage show but they never had the money to do so successfully. Thus, while the US stadium-strutters could afford state-of-the-art military hardware, Venom had to make do with rusty Kalashnikovs, recycled land mines, body armour made out of Christmas turkey foil, and cannons last used against the Spanish Armada.


“I’ve considered dropping the pyro to get back to the way we were with the early albums – raw and ferocious,” Cronos spits. “We never had much pyro at first, even the first video only had a small theatrical flash at the start and end; plenty of smoke though. I think the legend of Venom’s pyro show is a myth. People say we had a million effects in each song at the Hammersmith Odeon [Venom finally headlined that London venue on the At War With Satan tour]. But it’s like Chinese whispers. Check the video out; there’s not that much, really.


“I’d like some sort of stage show, of course, but in light of all the terrorist shit it’s going to be even more impossible to cart a boatload of pyro around the world, isn’t it? I’m seriously considering nixing the bombs. It would make life a lot easier, plus we could play a lot more of the venues.”


Classic Rock’s Dante Bonutto, for one, has fond memories of Venom’s Hammersmith performance: “They attempted to create Hell itself below their drum kit – Abaddon was perched on the tallest drum riser I’ve ever seen, his head was practically touching the venue’s ceiling – but all they succeeded in doing was to set fire to the curtains at the back!”


But, as Abaddon insisted at the time: “This band is fucking brain-melting. At Hammersmith we were recorded at 147 decibels before they switched the PA on!” Or, as the moustachio’d Mantas responded: “We don’t do gigs, we do shows. It’s massive. If you stand at the front you’re gonna get your head blown off.” In many ways Venom’s gory (sic; or should that be sick?) years revolved around their first three albums. Possessed, released in 1985, failed to match the satanic majesty of the previous releases and the band began to stray into bog-standard heavy-metal cliché territory with tracks such as We’re Gonna Burn This Place To The Ground and Too Loud (For The Crowd).


A planned US tour was thrown into confusion as Mantas caught chicken pox, and local north-east guitarists Les Cheetham (from Avenger) and Dave Irwin (from Fist) were brought in to replace him. Mantas decided to leave Venom in 1986 (when the band released the Nightmare EP and the Eine Kleine Nachtmusik live album), only to resurface shortly afterward with an AOR-oriented solo album! Less Venom, more Vandenberg, you might say. Or as Kerrang!’s Derek Oliver commented at the time: ‘Mantas’s guitar break is quite the best thing since the recent Jeff Beck album.’


At the time, Cronos claims, Jeff ‘Mantas’ Dunn was in all manner of confusion over his hellish alter ego: “He seemed at odds with himself, he didn’t seem to know what he wanted. He said he left Venom because of pressures from his new girlfriend. He said he also felt under duress because of the activities of the rest of the band and crew, which were basically sex, drugs and rock’n’roll, which we thought was normal for us, young lads on the road enjoying ourselves.


“There’s been loads of comments apparently from Jeff about this period, but he says one thing to one person and then something else to another, so what can you really believe?” Cronos excoriates. “All I know is if he’d really had a problem with either myself or Tony then he wouldn’t have rejoined the band with us years later, after he’d just split with this girlfriend. So you make your own minds up.”


For 1987 album Calm Before The Storm, Mantas was replaced by two guitarists, Jimmy C (Jim Clare) and Mike H (Mike Hickey). But internal friction soon caused Cronos and Clare to break away, relocating to America and resurfacing as Cronos (the band).


“After Venom did the Calm Before The Storm album there were growing tensions between the manager, the drummer and the two new guys,” Cronos snorts. “I couldn’t be arsed with this shit and I didn’t think the new guys deserved it as they were doing a good job, so I sided with them. Then I decided I just needed a change – and a laugh. I was finding the arguments boring and everything was getting on my nerves. I wanted to let my hair down and just make music.


“The American guitarist [Hickey] had gone back to the States, and I was talking to him on the phone when he invited me and the other guitarist [Clare] over to his for a break. We took him up on the offer, and while out partying we met an American drummer [Chris Patterson]. We went to his house where he had a rehearsal studio in his basement, we got wasted, plugged the gear in, went through some tunes, and Cronos the band was formed in true rock’n’roll fashion.


“We recorded a few albums and videos, and we got to tour America and play the UK et cetera, so we had a good time,” Cronos reviles. “It was good for me to do this. I saw the other side of the industry; I even drove the tour bus and the truck to the gigs on occasion. What a riot that was, charging through the icy, foggy valleys of Wales in January, in a loaded truck full of equipment and you can’t see two feet in front of the vehicle. Very scary shit. Hell yeah!”


Venom regrouped without Cronos, but with Mantas and Abaddon, for 1989’s Prime Evil effort. The line-up was augmented by singer Tony Dolan (ex- Atomkraft) and rhythm guitarist Al Barnes.


Cronos dismisses the Dolan-era Venom with a shrug: “From the little I heard of the cover versions of my songs it didn’t sound like Venom to me, just another short-lived tribute band – lame and boring and who gives a fuck anyway. I get the royalty statements, and I can tell you that ‘they’ certainly didn’t make me rich.”


When Dolan eventually quit the band, he amazingly cited Venom’s links to Satanism as the main reason!


Apart from the new stuff with Dolan on vocals, much of the 90s releases by Venom seemed to be endless compilations, dubious live albums and re-recordings of past glories. Thus the band’s popularity slipped further.


The classic three-demon line-up of Cronos, Mantas and Abaddon eventually reunited in 1995 to headline a couple of European festivals. An all-new album, Cast In Stone, followed in 1997.


Cronos ejaculates: “I’d heard that the Tony Dolan line-up had split around 1993, so I contacted a guy called Mark Wharton [ex-Cathedral drummer] to form another Venom in 1994. We had a blast, and recorded some stuff with Mike Hickey. This was also while I was still with Cronos the band. But there were growing problems with the people at Neat Records so I decided not to do a deal for the album with them. I let them use some tracks on a compilation as a one-off, but the album remains as demos and unreleased.


“In 1995 I decided to contact the original members of Venom to see what their views were on re-forming the band, and they were surprisingly up for it,” he masticates. “We organised a gig at the Waldrock Festival in Holland to see how it would go. The drums were sloppy and the guitar was out of tune, so I figured this was the original Venom again then. We then set about looking for a deal, and Jeff and I started writing songs. But it didn’t take long for the bullshit to kick in and I knew it wouldn’t last; something would have to change or we’d be splitting again.”


The turning point came in the form of a letter Cronos received a few months later from drummer Tony ‘Abaddon’ Bray.


“Tony wrote to tell me that my ‘services were no longer required’ and he was going to continue with Jeff and some other people, blah-blah- blah. I couldn’t stop laughing for days,” Cronos skulks. “Then I phoned the German record company [SPV] to tell them the score and wish them good luck with whatever they decided. But they went ballistic and refused point-blank to have any line-up of Venom that didn’t have Cronos in the band.


“So basically I contacted Jeff and told him the score, and we went into rehearsals with my younger brother Antny [of DefConOne] on drums. We asked Antny if he would be interested in doing an album and he said he’d give it his best shot – he even changed his name to Antton! Then while we were recording the album in Germany the record company said they loved what Antny was doing on the songs and thought the album was Venom’s heaviest yet. We had to agree, and Jeff commented that Antny was the first drummer he’d worked with in 20 years who could play the Venom songs the way he wanted them to be played.” The result was the aptly named 2000 album Resurrection, and Venom were back on the track. But not for long.


Earlier this year, Cronos re-emerged after an unusually quiet period as one of the guest singers on Nirvana/Foo Fighters man Dave Grohl’s Probot album, contributing some characteristically guttural utterances to a track called Centuries Of Sin. Cronos’s enforced silence had been due to serious injuries sustained in a climbing accident in February 2002.


“I’d travelled to Wales to meet up with some old friends, ex-Marines, for a get-together,” he drools. “One of them said there were some great climbing spots near to where we were staying, so the next day we set off on a mission. It was halfway up that I dislodged some loose rock and lost my footing and fell. I landed on a ledge and then a whole heap of rock fell on top of me. The doctors said I’d damaged the muscles, tendons and bones in my neck. They said if I hadn’t had such thick neck muscles then the rock impact could’ve snapped my bones and I’d probably be in a wheelchair.”


A dice with death indeed. (When once asked what song he would like played at his funeral, Cronos responded: “In League With Satan, definitely!”)


“The doctors initially said this could take up to 12 months to heal,” Cronos grinds, “although in fact it has taken just over two years and I’ve had to attend physiotherapy sessions to regain mobility in my neck. I’ve now started going back to the gym and feel okay; so far, so good. I’m not getting any pains but I’m taking it easy; I’m not leaping around the rehearsal room like a baboon – yet.”


So Venom are far from dead and buried. “I’m now in the last stages of physiotherapy since my accident,” Cronos exhumes. “I’ve just started rehearsing again with Antny and putting the new ideas together for the next Venom album. This has been the most frustrating two years of my life. I’ve been playing music and working out in the gym since I was a teenager, so to have to opt out of both was really hard. At first I thought I was going nuts.


“I’ve tried contacting Jeff but I’ve had no replies. He’s apparently involved in another solo project of his. I spoke to him last year and he sent me some new riff ideas, but then I never heard back from him. I’ll not know what his plans are until he gets back to me. I have another guitarist I’m rehearsing with in the meantime [an unnamed ex-Venom member], so we’ll just have to wait and see what happens. But, hell yeah, I’ll be back!”


Personally, I can’t wait to see a fully fit Cronos wielding his unholy bulldozer bass once again – a weapon of mass destruction by itself. And thinking about that other supposed definition of WMD (‘worries about Metallica downloadability’) reminds me of another of Venom’s dubious attributes: the band were also pioneers of musical piracy. Because as one commentator put it succinctly around the time of the release of the band’s Welcome To Hell album:


‘Home taping is killing music. And so are Venom.’

‘Shok To The System


Cronos’s most outstanding Venom memory is of appearing at the Aardshok festival in Holland – even though the band didn’t actually get to play there on the day.


“We were meant to headline the festival,” he recalls, “but all our equipment was still en route back from America so we just turned up to say: ‘We’ll be back next year.’ Then we played the Bloodlust and Witching Hour videos on the huge screens and the crowd went nuts. Jeff [Mantas] started crying. We just couldn’t believe the response. It was awesome.”


And Cronos’s worst Venom memory?


“Having to put up with those other two miserable muthafuckers in the band!”


Cut ‘Em Down To Size

Venom – specifically Cronos – always had a strained relationship with the press. People almost seemed scared of the band’s bassist/vocalist.


“Yeah, well, they must have given me reason to make them feel like that,” Cronos gristles. “Unfortunately some press people seem to think they have a licence to take the piss. And that’s at their peril. I’d fight a rhino if it charged at me. That’s just the way I am.


“There was an incident at one of the British festivals [the 1985 Castle Donington Monsters Of Rock] that people keep bringing up. It was shit what happened, but I had no choice. I was signing autographs for some fans when this press guy came up and started hassling me about his god versus my demons or something. Then he jumped on my back, so I threw him in a puddle of mud. End of story. That’s all it was.”


Classic Rock’s Malcolm Dome (for it was he) remembers the incident somewhat differently: “That’s not quite the way it happened. Cronos jumped on my back, and we both collapsed in a heap in the mud, flailing around, going on about some nonsense concerning ‘evil’. I think there were witnesses who’d back up this part of the story. But it was just a load of drunken silliness.”


Cronos even pulled a knife on Classic Rock’s Dante Bonutto one time. Venom were angry because Raven, a rival Geordie band, had ‘hijacked’ some of Dante’s interview time on a visit to the north-east. “I was told that Cronos and his friends were trashing the studio in Wallsend in a fit of pique,” Dante recalls, “and that I’d better watch my step when I eventually met them.


“On entering the room where the band were holed up, it was clear that, yes indeed, a great deal of trashing had been done. The three of them [Cronos, Mantas and Abaddon] were sitting on the floor surrounded by what looked like driftwood – but which presumably had until recently been some form of furniture – with threatening scowls on their faces. All except Cronos, who in addition to the scowl was wielding a dirty great knife!”


But there was a happy ending, Dante says: “The collective Venom anger fuelled a really great interview.”

This feature was first published in Classic Rock issue 67, in January 2005. 


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