|VENOM – Bootlegged Sons of Satan|
|Skriven av Daniel Löfquist|
|Skapad 2011-12-16 23:53|
Nobody can refute the fact that Newcastle-born black metal-pioneers VENOM are anything but one of the most important bands in extreme music history. Their first four albums are legendary and there are more bands hailing them for influencing their sound than there are bands who don't.
After over thirty years VENOM with their new album "Fallen angels" prove that there still is plenty of go left in the band, serving up their strongest efforts since "Possessed" and maybe even "At War With Satan". Because of this we just had to have a talk with the main man, and only remaining member of the classic original line-up, Cronos (born Conrad Lant).
You've said that this new album is the best VENOM has made since the eighties and I'm inclined to agree. Was there anything particular that you did differently this time to make it come out a head above the previous albums?
– It was an indie label, [in a] small shitty studio and we just did our damnedest. But somewhere around "Cast In Stone" (1997) everybody started to get into this digital technology with the Pro Tools and the samples, and we embraced that like everybody else to improve the sound of the band and the end product. But you know, now today when I'm listening to all of the recent stuff out there and I think that everything sounds the fucking same. I'm getting really bored with it! And I also kind of think it's lazy, you know. They might as well be kicking around cardboard boxes but once the producers put their magic tricks on it, all their samples and triggers and all that, it's like "wow, listen to that drumkit". Why not put real microphones on it and actually fuck with it a bit? You know, put gaffa tape on it, tape coins to the skin and all that. It can take days to perfect the drum sound and it's a fuck-on, but at the end of the day, it's real, it's in your face. During the shows that we were doing last year, Danté had this new drumkit with the really great cymbals and it sounded great. So I told the guys, when we go in to record this new album let's approach it like we did in the old days. Let's put microphones on it, be like cavemen here and get the drumkit sounding like a real fucking drumkit! Not like somebody's sample, not like somebody's trigger, not like some invented sound on a computer, let's get real drums, real microphones and let's fucking do the hard work! And I didn't wanna stop there. I wanted the Marshall-stack with a microphone on it, I wanted the guitar plugged in with a damn cable, I wanted to go back to basics. You know, there is a saying in music that goes "it's not what you play, it's what you don't play" and there's some truth to that. Instead of for example playing a really buzzy lead break, Cronos says and does a sound mimicking an Yngwie Malmsteen-type guitarsolo, it can sometimes be just as effective to just hold one note and sustaining it.
– I was kind of going [for] that type of mentality. Stop looking for quick fixes and easy approaches. Let's do it for real and do the hard work like a live band. Except for the fact that it's a hard drive doing the recording and not a tape machine there wasn't much difference from back in the old days, you know. It was cables, microphones, three musicians standing in a room and pressing "record" and I think it has to be the best way to record album; the way you'd play the songs live. I don't have fucking triggers live, I have microphones and cables. I was like, hey, we've played a bunch of gigs, it's tight as fuck, we've never sounded heavier so let's approach the album the same way. The result speaks for itself and I couldn't be happier. I'm so fucking proud of this album. It's got all the things you'd expect from a VENOM-album, the fast songs, the slower heavy stuff, all the bits and bobs you know, Cronos proclaims and lets out a little chuckle. We're riding high on this fucker!
Apart from what you've just said, does the approach to doing a new album today differ significantly from how you went about it in the eighties? I'm thinking about the whole process, from writing the songs to recording them to choosing a cover and putting the album out there finally.
– But I told them "I don't just wanna write fifteen songs and tell you to learn them. If you're just playing my songs, then you're just playing my songs. But if you're playing your songs as well, you'll be playing with a lot more conviction. So I would love for you guys to contribute to the new album and we'll take it from there". Naturally they were very excited but at the same time a bit nervous, wondering if they could actually produce something VENOMous. But I just told them to let me be the judge of that initially and ultimately let the fans be the judge of that, and I think they did a hell of a job. They soon started to come up with stuff even without me even being there and breathing down their necks, Cronos chuckles.
– That's just great because that's what it was like back in the day. We had the confidence to just create something and judge it later. If it feels good, let's do it you know? So I'd say that we really have approached this album more like we did back in the day. I mean sure, there were songs that I came to the guys with back then that were all done already, like "Sons Of Satan", "Bloodlust" and "In Nomine Sathanas", but a lot of the old VENOM songs were actually written by me and Mantas (gitarr, 1979–1985, 1989-1992, 1995-2004) together. I think I've just tried to simplify things and let things grow by themselves you know, not over think stuff and try to make it too perfect, and I think that some really good things can come out of that approach. I was watching a documentary on the FOO FIGHTERS the other day and apparently I'm not the only one thinking like this. Dave Grohl had a whole load old tape-recorders set up in his garage and they recorded their album there. Not only musicians are thinking like this, a lot of people are getting bored with all the samples and the triggers, it's making everybody sound the same! With the real microphones we're getting the individuality back and I'm sure this is a trend that a lot more bands are going to pick up on.
In the past you've repeatedly said that VENOM would never do a show where you couldn't do the full show with the pyrotechnics, the big lights and all that. Nowadays though you're playing plenty of smaller venues as well. What made you change your mind and how are you liking playing the smaller shows?
Can we expect a lot of touring and maybe some festival gigs for "Fallen Angels" then?
There's no question that VENOM is one of the most important bands in heavy metal-history. The amount of bands you've influenced and keep influencing is substantial to say the least, and so is your legacy. Is this something you think about when preparing for a new album or an upcoming tour? Is it a bit daunting to think about the impact you've had on the metal music genre as a whole?
– I'm good friends with people like Phil Anselmo from PANTERA, Dave Grohl from the FOO FIGHTERS, the guys from SLAYER, METALLICA and so on and when those guys say that they heard VENOM when they were still in school and how that made them want to start bands, it makes me think. You know, you can have a heavy metal festival with bands like SLIPKNOT and PANTERA, who both sound nothing like VENOM, and also bands like MOTÖRHEAD, JUDAS PRIEST or IMMORTAL. None of these bands sound anything like each other or like VENOM, we all sound so fucking incredibly different, but we still attract basically the same audience. It's just become so vast and so massive and I'm the happiest guy in the world for that because I'd rather be listening to the shittiest metal band there was than some crappy pop band! I just love hard, fast and aggressive music! And that's why we created VENOM. I didn't wanna hear some "falling in and out of love"-bullshit. I wanted something a bit more adult, more in your face. I'm a punk really, you know. I'm from the seventies and I grew up loving SEX PISTOLS, SHAM 69, CLASH, THE DAMNED and all that. I love music that's got an edge. But really, it's not something you wan to think about too much. As I said I'm humbled by all of it because I've seen so many musicians, that I consider to be fantastic, that never made it. It makes me wonder how I'm still here when those guys aren't? So it's not really tangible. You can't just put all the ingredients together and say "there you go, there's your supergroup". It's the right place at the right time, a lot of luck and I'm just happy to be here still creating music after over thirty years, says the master of the bulldozer bass.
There's no doubt that you were the first ones to call yourselves "black metal" but something that I find interesting is that most bands today belonging to the black metal genre sound nothing like VENOM. They sound more like BATHORY or maybe CELTIC FROST.
Cronos didn't create those bands, he argues with noticable excitement in his voice.
– We were a catalyst but they should take credit for what they themselves, what did and what they continue to do, you know? The way the whole Scandinavian black metal-scene has evolved… I was just watching the new DIMMU BORGIR video and that shit's fantastic! The imagery, the corpse-paint, the milk in the bath, the blood, and all that, it's fantastic! Very professional and great to watch, and I also think they sound really cool as well. They and others like them have evolved that kind of music and that's why I think they should really give it a new name. It's not black metal, speed metal, power metal or thrash metal; it's a new form of metal that they've created.
There are a couple of bands that are considered to be the formative bands of the genre. I'm referring to bands like BATHORY, CELTIC FROST, SODOM and MERCYFUL FATE. Do you have in relation to these bands today?
– I talked to one of the fans afterwards and he summed it up perfectly for me, the exact words that I had in my own head. He saw us in 1997 and he said he'd rather see a great VENOM on stage that's tight and fast and loud than see the original guys playing sloppy and being shit. I totally agree because VENOM is bigger than any one member. VENOM is bigger than Cronos. VENOM is bigger than Danté. VENOM is bigger than Mantas, and so on. VENOM is an entity, a force that we've created. It's not about the members of the band, it's about the band. It's not a Cronos-album, it's a VENOM-album. Cronos contributed to that album and he's on that album but he's not VENOM. VENOM is the entity and we have respect and protect that. So personally, as a fan of this music, given the choice to see a band with the original guys who suck or the band with the new guys that are passionate and can kick some shit, I'll go for the new guys.
Speaking of the old guys, what is your relationship Mantas and Abaddon like these days?
– Some of them weren't even born when "Welcome To Hell" came out! But they're now the majority of the audience, so it's been ten years since I heard anybody whining to me about "VENOM is not VENOM without Mantas and Abaddon". That's history now. People don't give a shit about the old guys anymore.
Since we're already on the subject of the older albums and previous members I just have to ask, what is your opinion on the VENOM-albums that were released without you?
– Now to answer your question, when I worked at Impulse Studios, which was basically Neat Records, there was a band that came in that had VENOM’s manager's brother on drums. They were called ATOMKRAFT and I produced their record so I was very aware of what they sounded like. So when I first heard the "Prime Evil" album (which featured Tony Dolan from ATOMKRAFT on vocals, editor's note) it sounded like ATOMKRAFT to me. I didn't think it sounded like VENOM and the fans obviously didn't think so either because it didn't sell shit. Now don't get me wrong, I gave that line-up my blessing because I joined the CRONOS band and we went to the US and did our thing. I was quite content to be doing the CRONOS-stuff. Abaddon actually called me up and asked me if I was going out as VENOM but I said "no no, I want a break from VENOM and do something else". Because they were actually called THE SONS OF SATAN at first but I told them that I'm touring as CRONOS so if you wanna call yourselves VENOM just go for it. So I've actually got no bad feelings about that shit really. That singer, Tony Dolan, actually said that he was very disappointed because he thought they would be going out and doing big concerts with the great spectacular show and all that. But they had trouble getting booked because nobody was really interested. So you can't just join a band and expect to be famous and shit. You have to work at it and then there's also that whole "right place at the right time" thing. It's not that easy you know.
Talking a bit about the business side of it all leads me into my next question. When you reunited the original line-up back in 1995 there was a massive insurgence in VENOM collecting and the prices on your old vinyl releases doubled and tripled in price. There are VENOM releases today that routinely are priced at hundreds of pounds if you can find them and collecting VENOM has almost become like collecting a band like KISS since there are so many different and odd releases. Clearly you never see a dime of the money that is shifted around for the rare collectibles, especially since many of the most sought after items are bootlegs as well. How do you feel about there being such a lucrative aftermarket for your old stuff and bootlegs in particular?
Still you did do many official, but odd, releases back in the eighties, in colored vinyl and things like that. Do you even own most of your old releases yourself?
So all the colored versions of "Black Metal" were bootlegs?
Yes, I am. For example there's a brown vinyl edition of "Black Metal" that is pretty sought after and very pricey if you can find it.
The new album "Fallen Angels" has been out for a couple of weeks now, and it's available on both vinyl and that other smaller format, so go pick up your own copy and started preparing for when the mighty VENOM touch down on Swedish soil again next year. Lay down your soul to the gods rock'n'roll! Black metal!