Venom
From the Very Depths
(Spinefarm Records)

Reviewing Venom is a daunting task. The band created the term and sound that incited the genre, “Black Metal”. Taking Motorhead, GBH, Discharge, NWOBHM and Sex Pistols, Cronos and company mixed those bands’ speed, heaviness, rebellion, image, and attitude and, adding the element of old Beelzebub, created a genre. Quickly joined by Bathory and Hellhammer and, later, Mayhem, Venom charged forward and crushed all opposition. Now, in a world where nothing shocks anymore and everything is instantaneous and attainable, the Satanic and underground (tape trading) draws are evacuated.

A review must take the myth and legacy of Venom, but contrast it with the pragmatic standards of releasing an album in 2015. And depending on your audience, one could point out inconsistencies gracefully or be an old man, grumpy hater. Let’s face it, no one expects, or truly wants, a repeat of the first few records. That attempt would just look pathetic. That said, my Venom collection is restricted to the early catalog up until 1993. That is when black metal was snatched and taken further underground by Mayhem, Darkthrone, Immortal, and Burzum.

Cronos is the only original member. But current fans are quick to point out that Dante on drums and Rage on guitars are the best musicians in Venom’s history. And that is accurate. But Venom’s allure is also the stripped, raw, loose production that is a conduit for the energy and fury, not the technical prowess of the musicians. Venom, however still has more street cred and integrity than, say, a Misfits. Plus Venom don’t have wrestling dolls and lunch boxes. Maybe a Cronos bobble head, but hey – so does Keith Morris and GG Allin.

“The Death of Rock and Roll” is a blistering track calling back to Venom’s Motorhead adoration with a sinister twist. But “Smoke” is an attempt at sounding modern; and a travesty. It has a cool heavy riff, but the beginning wah-wah guitar and clean production on guitars do not sound like a Venom song. The end result on From the Very Depths is a mostly consistent, solid album with a few oddities thrown in that cause double takes. Back to the Misfits comparison, when American Psycho was released in 1996, it was a good (not great album). But it was a terrible Misfits album. If it had had a new band moniker and just ‘featuired’ ex-members Doyle and Jerry, then I would have had more respect. Of course, any band that spans three long decades is going to have line-up changes. Mayhem has and released a killer album last year. Motorhead did as well in 2013. Metallica, Slayer, Anthrax have all had changes with dismal results; while Exodus, Death Angel, and Testament seem to be better than ever. Darkthrone, Taake, Immortal all had a center core of members with other players going in and out.

Venom’s difference is that this is still a Venom album, for better or for worse. They do utilize crisper, cleaner production than in 1983. But unless you are the antagonist, a la Varg, you would not want your music to sound shitty on purpose. And Venom’s purpose was to be bigger and playing large stages at festivals, from the beginning. This music isn’t solely for sociopaths in their moms’ basements. This is rock and roll at its core.

“Long Hair Punks” and “Grinding Teeth” prove this intent, while also proving that Cronos and Rage can still write terrifying songs worthy of the Venom name. Wailing guitars, with a dive bomb and slithering solo, ride easily along the ferocious bass and fast drums. The thick riffs are mixed well and all layers fuse into a vicious “No hip hop or funk; demons from Hell, long haired punks”. Venom has always embraced the punk influence and their love of d-beat.

The other issue here is that you have every band to be influenced by and expanded on Venom’s unique sound. When I hear the track, “Crucified” (no, this is not a remake of 2002’s “Crucified” from Kissing the Beast. It’s all very confusing) I get tingly. This is a heavy, hard song that evokes Metallica’s Master of Puppets and the mighty Slayer. While Venom does what it always has, people cry they don’t grow as their offspring has. But when they ‘experiment’ they are criticized for not staying true. Age is a burden. Actually, “Crucified” sounds like it could have been birthed during Anthrax’s Persistence Of Time. This is a brutal tune, very heavy.

“Evil Law” follows. The guitar lead that ushers us into the main song again echoes Slayer and Metallica; but those bands took cues from Venom. This then transitions into a slow, plodding drum beat while Cronos croons – from what sounds like a mountain top – evil incantations. The end of the song revisits the intro riff and adds an urgency before the song is immersed in a searing lead. “Temptation” boasts a heavy ass riff and double bass driven tune. Big riff, big vocals, and a mid-tempo beat construct music to fear. “Stigmata Satanas” follows suit.

Through my first listen, I felt maybe Venom was grappling an identity crisis that would rival the Cro-Mags. I thought we had the classic punk or hardcore or hip hop disease when the originators try to keep up with who they influenced and wind up sounding like an imitator. But upon further listens, this is a cohesive album. “Evil Law” is a bad ass song. “Mephistopheles” is a stomper. Again, it sounds slightly polished and crisp, like a late Sepultura album. There is less of the Motorhead mashed with warped demonic biker fuzz and emergency of GBH/Exploited meets Thin Lizzy. There is no true scent of NWBHM. Instead, mosh riffs are more the pith of these tracks, but I love that shit. Even a song like “Riddle of Steel” from Kissing the Beast (2002) held that fast pace and was produced appropriately and mixed well.

But going back to say, Prime Evil, which has the speed and crushing riffs, is produced slightly hollow. I would have loved to hear it mixed with more low-end; giving it more balls. Possessed has the same issue. The vocals are too low and the production is thin and tinny. From the Very Depths is grand and heavy and evil. Every song does not push the speed to ten; but the riffs still crush.

“Mephistopheles” begins the final quarter of the album. Strong, barbaric (but tight) drums pound as Rage hammers down a bandied riff. The hollow break isolates the drums and highlights the power of the riff. This song is bad ass. “Wings of Valkyrie” keeps “Meph”s mid tempo approach but adds a NWOBHM gallop and the riff fills out the track. Cronos’ malicious vocals are omniscient. This could serve any warrior proud on the battlefield. Venom can still bring the heavy, when not relying on speed as the sole measurement of extreme. These are heavy songs. Dante’s drumming lends a cohesive thread in its thunder. The final track, “Rise”, raises the intensity of the heavy riffs and the raw energy on all levels. The track truly sounds like a summoning – to Satan or his minions. Whichever, this would rally a legion.

In a landscape where Morbid Angel, Autopsy, Exhumed, Napalm Death, and Cannibal Corpse still put out records that get hailed and noticed, Venom must stand on its own. Instead of being Cronos’ new band with Rage and Dante (like Tom G did with Tryptikon), Venom remains the name and must herald the praise and wear the criticism. Even with a deviation or two, these final three songs remind us that Venom is strong and going nowhere. Their sound may have grown into what they need to deliver on a big stage, rather than a basement show, but they accomplish it with all the same evil and disgust. (Hutch)

Purchase From the Very Depths here: iTunes | Amazon