"Whatever it is that hits the fan, it will not be distributed
Third Law of Reality
AN INTERVIEW WITH ABADDON OF VENOM
by Richard Karsmakers
After brief periods of Kiss adorations, around the time when the
seventies changed into the eighties, I went on to Saxon. From
Saxon, who were getting increasingly wimpy, I took a leap that
was not as big to me as it was to my father (and his tortured
ears), because that was when I started digging Venom seriously. I
have in the mean time - after 12 years or something - recovered
from the ordeal. I have known weeks, even months, spent without
listening to Venom at all, really, and I never even got cold
But it's a fact that Venom is as much part of my history as it
is part of a great many heavy metal fans as well as a lot of
current-day bands that have been influenced by them in some way
or other. I guess the ultimate proof of the latter is the fact
that two different tribute albums have been released in the
latter half of last year.
What better to do other than to try to interview them now, what
with Abaddon having been involved with the production of one of
those tribute albums and rumours abounding about a Venom reunion?
Thanks to Marijn Vermunt, senior editor of "Avalanche", an
arrangement was made for a phone interview with Abaddon himself.
A few days after the release of the previous issue of ST NEWS, on
one of the days that Karin was down south with her parents, I
went down to Marijn's domicile in Amersfoort and spoke lengthily
with one of my heroes of old, a very talkative Venom drummer.
What did you do prior to Venom, and what happened during the
relatively silence that enveloped Venom a few years ago?
Abaddon: The period prior to Venom is very easy because none of
us had been in a band before. Venom was the first group we got
together in and it kindof worked out pretty well how we hoped
from the start. That was kindof good for us because we assumed
that happened with every band; you got together, you rehearsed a
few times and you get a deal. That's not how it happens, which we
found out a few years later. It is really quite a difficult
business to be in. But it was all a bit easy for us in the
beginning. The period after when Venom were selling a lot of
records was a case of my discovering other areas of the music
business. I got involved with management and owning a studio and
owning a record company. And the other members of the band were
always more interested in things like body building and this kind
of thing. And they all went off to do that kind of thing in that
Mantas is a big guy now. He has his own kind of gymnasium and a
lot of pupils. It takes up a lot of time. Cronos teaches a kind
of aerobics. Whenever I speak to him about that, he argues that
he has a room full of nearly naked women for almost every hour
most nights of the week, and I can't really argue with that. It's
something the band, apart from myself, was always interested in.
They wanted to make a living away from music. My interest has
always been with music.
I manage a band called Skyclad, probably the most important band
we have in the books at this moment. And we've just done the
Killers album, which is Paul Di'Anno's band. And we're working
with John Sloman at the moment; he used to be the singer with
Gary Moore. We're kindof concentrating very hard on the record
label at the moment. We've had an offer to play the Dynamo Open
Air festival with the original line-up, with Cronos and Mantas,
and we're having meetings every week now to see if we can do
this. And Andre Verhuysen, who promotes the Dynamo festival, is
coming over in about two weeks to kindof put everything straight.
We originally talked about it kindof this time last year and we
agreed that it wasn't gonna happen, and a few times since then,
but it's a very very good chance now.
Where did the name Abaddon come from and what does it stand for?
Abaddon: When we put the band together we all agreed
straightaway that we didn't want to use normal names, nor rock
star names. We kinda wanted to create characters. The name
Abaddon comes from the bible, it's the guardian to the gates of
hell. We were all very much into the Satanic Bible at the time
and it's one name that I found was a common link between the
spirit worlds of the religions of Satanism and the Bible. And it
seemed quite good to me at the time, a good character to build
for that part in the band. "At War With Satan", our third album,
has quite a large part that was written about that character,
Some people may know that in reality you're called Tony Bray.
When was Tony born?
Abaddon: He was born in Newcastle, in the North of England, of
17th September 1960. It's a very industrial area of England and
it was built on shipyards and coal mines and that kind of thing,
at least in that time. It's a very hard area to grown up in,
which is why the music we did was kinda more violent than other
stuff in the early eighties. Heavy metal music was very safe, it
was kinda Iron Maiden and Whitesnake and that kind of thing.
Venom's music was very violent. I think it had to do with the
kind of upbringing we've had. It was al rented houses and our
fathers had to work for very many hours for very little pay so a
lot of anger and frustration came into the characters and we
managed to transform that into the music easily without having to
"perform", if you know what I mean. That's why many people
thought Venom was so bad and kindof crazy, because we weren't
doing it as performers; it came natural to us.
What can we expect to hear from Venom in the near future?
Abaddon: The big thing is the Dynamo festival. We've been asked
to play another four festivals around the world and one of those
is at Red Rock in America. And a Japanese festival, and one in
What about future recordings? Will they be in the industrial
vein, like those sortof new tracks on "In the Name of Satan", the
Venom tribute album?
Abaddon: The new tracks were kindof down to me. You know I have
a recording studio down here and I was messing with some stuff
for Venom. And I wrote eight or nine songs which were very
industrial and I thought were very heavy. I didn't know
particularly how people would listen to them and think of them of
Venom or not. So when we did the tribute album it was a great
chance to put a couple of songs on there to gauge people's
reactions. This new material didn't necessarily have to go out as
a new Venom album. Maybe as a solo album, or another name, or
maybe I'll chuck it in the bin. It's all the Venom drum samples
and loops from my kindof early days, kindof 15 years ago, built
into new rhythms with new industrial guitars so it kindof has the
darkness of early Venom but is more vicious. A lot of people have
said it's possibly just jumping on the industrial bandwagon which
is going round now.
There is a distint possibility of an album with the original
band, that depends on how well the live shows go, and depends on
the record company wanting to get involved with us again. Because
the thing with Venom is that from the very beginning we were on a
company called Neat Records. There was no financial help from
them. The band was touring big places and selling these out but
there was no financial support to keep us out there and do it
again. We did pretty good but we couldn't stay out there. I mean
it didn't have to be huge, we didn't need millions and millions
of pounds pumped into cocaine abuse and videos. But we were
running 3 or 4 coaches and 5 trucks and it was obviously very
expensive. We were putting everything that we got paid for the
shows back into doing it. And in the end the band didn't get any
money and we were still signing on the dole in England. What I
got from it personally was that I was getting contacts. I didn't
realise that at the time but when I was doing my own things I
just had to call up and say, "Hi, I'm Tony Bray, I'm Abaddon from
Venom," and people are prepared to talk to me and I could talk to
the important people directorly instead of through someone else.
So I did gain something from it personally, but we never got any
money out of it.
The whole point was to give the crowd absolutely everything. We
always said that if we could party really hard after the gig we
hadn't given everything on stage. That's what we always tried to
Will there be releases of older material, through Castle or Neat
Records or whatever? I am thinking of stuff like "Skeletons in
Abaddon: Possibly, yes. We don't have any choice over what goes
out or not. All that stuff belongs to Neat Records. They put this
stuff out. My own personal stuff that I've been doing with back-
catalogue Venom has been restricted. I think we did one
compilation album of re-recorded songs, the new Venom playing old
Venom songs ("Kissing the Beast", ED.). I was a little bit
surprised that it didn't go down well with the critics because
they were great songs, you know, from "Welcome to Hell" and
"Black Metal", but we had never produced them properly. We went
in and re-recorded the songs with the band, you know, 10 years
later, and obviously we were better musicians and the recording
facilities were better and the production was better. A lot of
the cricits kindof didn't buy that.
When you look back at what Venom did in the early days, are you
not in a way ashamed? After all, people have been known to label
Venom as "immature".
Abaddon: For all the people who would say that we were immature
or who would say that we weren't excellent musicians there were a
lot of bands, like Paradise Lost and Sepultura, Pantera,
Metallica, Slayer, there's Megadeth, and they'd say Venom was the
most important band to come out of England since, I'd say, Judas
Priest. One of the most influential heavy metal bands. We played
4 or 5 concerts in Brazil where Sepultura supported us, those
were very big concerts, and it was kindof a breakthrough for the
band. Metallica, before they were supporting us, were kindof
playing in garages and stuff. The Americans need something to
come over from Europe, to come to America, to make the American
sit up, and then the Americans do it better, they do it bigger,
they do it with more clout, more money. But they always looked at
places like England, they looked at Germany, to Holland,
sometimes to France, to look for something that's gonna be
different. That's why I get so involved with Skyclad, because
they're so different, so original, and I'm very proud of that.
And they're not doing huge sales and they're not so important
right now, maybe, but at least it's straight from the heart. But
we'll be taking them to America and the Americans are going to be
seeing this kind of thing and, you know, some people are going to
ridicule it and some people are going to say, "no, no, this is
really important". Venom was like that. And Slayer was laughed at
for 3 or 4 years before they got a major deal. And now nobody
would laugh at Slayer.
Would you agree that Slayer, together with Venom, were the most
important early thrash/speed/black metal bands?
Abaddon: I think we've got to include Metallica, and not so much
Megadeth, and Anthrax, and also a band called Raven, who didn't
get so much recognition perhaps. They played great speed metal,
and went out with Anthrax and Anvil and they were playing great
stuff. Then they signed to a big company in America and the
company tried to change them and it didn't work out. They were
from the same background as us, of a similar age and a similar
upbringing, and people who would listen to Raven, who were
excellent musicians and different from Venom, would see where the
intensity and violence came from, that kind of industrial
background. I think you have to have that. I mean, look at
Sepultura. They wouldn't have been as angry if they hadn't been
brought up in the police state they talk about so much in
interviews and whatever. I mean, you come from the Bay Area, San
Francisco, and your mummy and daddy are gonna buy you a car and a
house, it's quite hard to get some violence out there and make it
believable. The Americans draw from other places, I think.
What is your favourite band?
Abaddon: My favourite band, wow. At the moment...I guess of all
time it's Deep Purple. It's always been Deep Purple because they
were always a bit off course and you never knew what you were
going to get if you went to see them live. It was a bit
Sticking to your trade, who do you reckon is your favourite
Abaddon: Simon Phillips. He's a session musician, who played on
Judas Priest albums and he's played with Russ Ballard and this
kind of thing. Actually he's a really young guy. I went to see
him at this drum clinic in Frankfurt at the Music Messe and Simon
came out on stage in front of a few hundred people who were most
drummers, I guess, and he set up his drumkit and the lights were
turned out and he played for 20 minutes and all these people were
stunned, you know. Great, professional drummers from all over the
world. And he's such a nice guy, not a superstar or anything, but
he's been on some of the most important albums ever, George
Michael albums, this kind of thing. He's a very nice guy and a
Which musicians are you most influenced by?
Abaddon: I try, and I think we all try, not to be influenced by
anybody. Personally the industrial type thing that's happening
has obviously influenced me, and I try not to listen too much to
Nine Inch Nails and this kind of thing, but the music is very
influential because it's a new kind of heaviness for me. It's
more brutal, more direct, and if I could condense this kind of
thing with the brutality that Venom used to have, the lyrical
content, that would be a great thing to take Venom through the
end of the nineties.
Don't you think you might be betraying the old fans by swinging
around the rudder of your musical direction like that?
Abaddon: To be fair, I don't think there's a lot of the old fans
left. If we just re-made "Black Metal" again I think they'd think
it's a cop-out. I think they'd want us to explore new intensities
and all. Venom is thrash metal, is speed metal, is death metal,
but none of these words had been used before. Nobody called a
band a thrash band or a speed metal band. You see, we would do a
speed song with satanic lyrics, or a song about perversion,
nothing to do with satanism at all, with lyrics about how Mantas
thought of his primary school teacher, when he used to see her in
class. It was about there being no boundaries other than the
intensity and, you know, being over the top. I can't see how a
band that set out to explore musical parameters and redefine
intensity, I can't see why...you know, we did disco stuff on
albums, just to take the piss out of it, doing it to show how
more intense it was then what was available in 1980 or whatever.
This is only my angle on things, and there's three of us. When we
get together the chemistry will appear again. I would present a
harder edge but someone else would say, "no, Venom is more about
black metal, we need to be more in the old vein". It's this kind
of argument, the internal fighting, that kept Venom interesting.
There's no chance of it happening, but if we'd all be the best of
friends before the Dynamo festival this year, it would be a shit
gig. But I know we'll be argueing, we'll be fighting like cat and
dog, and it's gonna make a very interesting concert. That's why
Venom was never very good at touring, because you can't go out
and do one gig and say "well, that's it, fuck you, I'm going
home", you know, you got a commitment for the next three months.
And if you've got a safe kindof family unit that goes to the next
concert and does it that's not interesting for us. We played our
best concerts at times like that, there was always the one-off
gig that was better than the rest because we fought.
What is your favourite Venom album?
Abaddon: (Resolutely) "Prime Evil".
And your least favourite?
Abaddon: (Equally resolutely) "Possessed". I think most people
would say they dislike "Possessed". We had more time to write the
music, we had more time to spend together, and it didn't work.
"Prime Evil" was a case of when I managed to split with Cronos
and went back to see Mantas again and we were gonna write stuff
and it would be him and me with another singer. "Prime Evil"
should really have been the album after "Black Metal". I mean "At
War With Satan" had a great concept and great lyrical content but
we were still recording in cheap studios and it should have been
done on a bigger budget. "Prime Evil" was done with a big budget
in a good studio with a good producer and we felt like we wanted
to work together again.
You mentioned "managed to split with Cronos" just now. Was it
Abaddon: It was, because in the beginning it had been a laugh to
be in a group and it didn't matter when we weren't making any
money out of it. When Mantas had left and we recruited two new
guitar players and had a deal with a new record company it was
becoming a job and I'm not enjoying this. We wrote a lot of new
songs and I didn't have much input. I learned the songs and I
played on the demos of the songs, but I thought, you know, this
isn't a fuckin' Venom album, it sounds like a David Lee Roth kind
of thing, with very nice guitar playing. When Cronos split he got
a new drummer and that became the new Cronos album. And the songs
on there, I think it was called "Dancing in the Fire", that would
have been the next venom album. It's a perfectly good album with
perfectly good songs but it wasn't a venom album. It was far too
light. My angle was not to get too light, to get more vicious and
more violent. Cronos wanted to get better musicianship and more,
kindof, virtuosity. I wanted more violence, more death, more
fuckin' over the top. And if we sit down to record a new album
I'll be bringing back this angle to it. We'll have some arguments
and some fights. Even if we're not gonna do an album it's gonna
make for a great concert. I'm looking forward to it, I haven't
been on stage for a long while.
What is your favourite track on the "In the Name of Satan"
Abaddon: "Witching Hour", with Mille (of Kreator, ED.). I think
it's very intense, it's extremely fast, and very heavy, and I
think it's a great version of one of our better songs. It's very
simple, but it's like a train and this is my idea of what is good
about Venom. All our best songs were, like, four-minute songs. We
were writing very intense music but in a standard rock'n'roll
format, you know. And most of our successful songs were like
that. Thrash changed with Metallica and Exodus and Exciter, and
they became 7 minute songs and 9 minute songs and this kind of
thing. Venom were never about that. Venom were only ever about to
create an atmosphere for the song, start the song, get our point
across, get to the solo, double-chorus, get to the end. Pretty
I guess you could say you are in many ways a part of the music
industry, what with your being in a band and managing and
recording and everything. What do you hate about the music
Abaddon: It's a very shit industry to be in because there's a
lot of back-stabbing. There's a lot of record company bosses that
make money and the band don't see it. A record company will look
at a band and they will say, "we like the singer, we'll promote
the singer," and the rest of the band gets a shit deal. You find
that mostly drummers, rhythm guitar players and bass players
leave bands more often. I think you kindof get people to sell
millions of dollars hyping mainly American bands. How can you
justify people killing themselves for their music because they
can't face what the next step is? They can't see the next angle.
It's ludicrous to me that it gets to this. it's only
entertainment. You listen to it, you like it. People shouldn't be
under that kind of pressure. I don't know Curt Kobain's life
style that much, but when you get the impression that it's record
company pressure and you'll sell 25 million copies of the next
record I think it's too much. The worst part is pressure and
hype. If everybody could just pick up a Guns'n'Roses album and
like it, without having to realise there's 47 million quid being
spent on the video. The industry belongs too much to the machine,
and not to the bands.
Of the books you've read recently, which one made most of an
Abaddon: A book called "The Great and Secret Show", which is by
Clive barker, and he wrote that a while ago. He's just done a new
book called "Everville" ("Evervale"?) which I've nearly finished,
it's a very horrific book, a very intense study of people, and
it's pure fiction but it's very intense, very bloody, very gory.
I've gotten within the last two chapters now and I've realised
the whole thing is a love story. It really smacked me last night
when I found out. It's made a very big mark upon me, because I
didn't see this coming though I normally do. Clive Barker is my
favourite author, absolutely, no doubt about it.
Likewise, which film did you most like?
Abaddon: (Deep sigh) It's been a long, long time. I tend to like
stupid films, films where you don't have to work too hard on it,
films where you sit back...I watch stuff like "Killing Fields"
but I find myself thinking, what's the entertainment, where's the
humour? I suppose most important are ludicrous films about
escapism, not so much about heaviness. I like intense books but
when I go to the pictures I like a couple of hours of escapism, I
don't want to be forcefed anything. Stuff like "The Mask" is
really nice and I think, "how the fuck does he do that?" where
you can sit down and be impressed and entertained without having
to think about the morale. I hate these things were you have to
come out of the pictures talking about the meaning of life and is
it really worth while and this kind of shit.
I guess you'll die eventually, in whatever amount of years.
Which song, barring "Buried Alive", would you like to be played
at your funeral?
Abaddon: "Always look at the bright side of Life" (Monty Python,
ED.). It's irony. So what? I don't like to think there's anything
after this. The Christian ideal of the afterlife...I'd hate to
have to go through it all again.
And, let's be frank, you've done some pretty naughty things in
your life, so you'd definitely end up in hell.
Abaddon: And if I have to choose between heaven and hell I think
I'd rather be in hell. Probably just as well. I don't expect to
be able to write songs like "Welcome to Hell" and "Leave me in
Hell" and get away with it, anyway.
What do you loathe that you see everybody around you likes very
Abaddon: I think it would be something in music, because I spend
so much time with it. It's overhyped bands that take themselves
very very seriously. Bands who go out and play and become
millionaires but not because of what they're doing but because of
their managers, the record companies, because of the guy who
produced the video, and has very little to do with individual
talent. I am thinking of 2 or 3 bands. To think of Guns'n'Roses,
I don't think I've ever heard a singer who is more *annoying*,
yet he can piss off tens of thousands of people one night because
he's in a huff, or he sings for 2 minutes and then fucks off.
He's not a real person and I can't see why anyone would want to
go off and buy any more records. I can't understand why people
put up with that kind of shit.
What's been the worst ever moment of your life?
Abaddon: Pwoah... I was very young, I think about fourteen. And
we had a game here, in Newcastle, where we used to wait for the
trains to come by and slow down and we used to jump trains and we
used to ride on the coaltrains. And my friend, one night, slipped
underneath. I got hold of him but the train had cut off his leg.
I was only 14 years old. We shouldn't have been there, we could
have been prosecuted. And I remember I had to go and tell my
mother, tell his mother, get an ambulance, that kind of thing.
And I wasn't really ready for that. It was really strange. It was
a gruesome thing. The tendons of his leg were still connected and
a dragged him to the wall, which was kinda 20 feet away, and I
went between the train tracks and picked up his shoe and his foot
and the bit of leg and I thought, in a stupid young guy's way,
"it's OK, everything is still connected, they can sow it back
on." And I was standing there holding this foot, and that foot
was most important to me. The ambulance guys turned up and put my
friend on this stretcher and I was kindof walking with him,
holding his foot because they were going to sow it back on. The
guy lost his leg, you know, but to me it was just really
important to hold this useless piece of meat, I guess.
Well, since we're talking about meat anyway, that sortof leads
me smoothly to the inevitable "most cliché" question of the
interview: What's your favourite food and what's your fave drink?
Abaddon: Food would be very rare steak. Favourite drink is Wild
Turkey Bourbon Whiskey, straight-up.
Suppose you could stand in the Oriental Loafers of Aladdin for a
while and rub the magic lamp. Out popped the genie and he'd allow
you to make three wishes. What would they be?
Abaddon: The first one would have to be that nobody would ever
have to suffer. I don't know if this is cliché or something, but
when you look at the news and this guy's murdered 16 people and
he's a serial killer but whenever people start involving kids I
get really fucking hot under the collar. I don't see why people
should be brought into some of the things that happen when they
don't have a chance to say "no." It really fucks me up. I wish
my kids would not have to witness stupid wars or stupid fuckin'
religious arguments that have been going on for thousands of
years and will go on for thousands more.
Wish numer two...I would wish that more people would pay
attention to some of the bands that I personally get involved in.
Some of them are great and the music is great but they never seem
to sell enough records. I'd love to think that some of my bands
could sell more records and gain more fame. I think we've done
some great records but not enough people listen.
Wish number 3...I could say I need a bigger house and a bigger
car, but I really don't. The house is big enough and the car is
OK. Suppose you would be sent to a deserted island with only one
book, five CDs and one luxury item (plus a CD player, of course).
What would you bring? And...er...if you're going to say "the
bible", I have to warn you it might not sound believable.
Abaddon: That's exactly what I was thinking. It's mostly a book
of solace. It's a group of excellent stories and you can place
yourself anywhere within these stories. The fact that it's set in
a particular time and with a particular person...you don't have
to take it that way. If you read some of the stories, it's really
a very entertaining book. So I *am* going to say "The bible". As
to the CDs...recently I got a CD from Alistair Crowley, which is
like 45 minutes of him preaching, and it's from an original wax
cylinder, and it's really interesting and I think I'd take that
because it's actually very relaxing to listen to (laughs). And
I'd take Nancy Griffith's last album, the American country star,
because it's great relaxing music, you don't have to listen to
it. I would take "Made in Japan" by Deep Purple, Tommy Bolin's
"Private Eyes" and "Making Movies" by Dire Straits. Luxury
item...I guess it would be a bottle of whiskey, but it would
probably not survive the first night. There were go! My third
Aladdin wish would be "as much whiskey as I need" and my luxury
item would be "the whiskey".
What invention do you hope people will come up with soon?
Abaddon: It's not an invention as such, but I hope they come up
with a cure for AIDS, because it's something which affects my
industry possibly more than the others. It has happened within my
lifespan and it's a plague on the earth which we don't seem to be
able to get rid of. We kindof promote promiscuity more - we have
men openly kissing on British TV before 9 o'clock - but we can't
go and buy hard core porn in England yet, and we can't go to a
prostitute, but we can see two men kissing and we regularly see
people injecting drugs and this kind of thing. If at least we
could get rid of the death aspect and it would go back to being
itchy or scabby, you know, *treatable*. My young son is 14 now
and I'm having to say things to him, and I'd hate it if he made
some slip one night with a young girl and he'd die. It's not an
invention, but a serum that would stop people dying from sexually
transmittable diseases would be nice.
Suppose you were going to expand your mind even more and join
the cosmetics industry. Suppose you were to make a perfume, what
would you name it?
Abaddon: In 1984 there was a perfume called Venom. It was a
black bottle shaped like a coffin with a cross on it, but I
wouldn't do that. I guess it'd be a macho thing with lots of sea
spray in the adverts and that kind of thing. I think I'd call it
"Macho". I think I could see a few ex-members of Venom wearing
What's your ultimate ambition, the kind of thing you'd like to
be remembered by?
Abaddon: Being fair. I'd love to think of people to look at me
and say "what an asshole", "what a prick", "what a nice guy",
whatever, but that everybody would at least think I was fair.
People may not have agreed with what I thought, but at least I
Now for the last major section of this interview, the "words to
react to" deparment. Please respond candidly, briefly and quickly
to the following words...MTV.
Abaddon: Waste of time.
Abaddon: (Virtually laughs his head off) Nice guy.
Abaddon: Nicer guy.
Abaddon: Great singer.
Abaddon: 47 (laughs). Can't explain that.
"Promotors of the Third World War" (the Swedish alternative
Venom tribute album).
Abaddon: (Thinks for quite a while) Self-motivated.
"In the Name of Satan" (the official Venom tribute album).
Abaddon: I like the album, but I had a lot to do with it, so I
probably would. One or two of the songs didn't really work; maybe
some of the stuff we got from America was not as good as it could
have been. It was not, by the way, that the songs needed to sound
like Venom, it was just that the bands needed to have been
influenced by Venom. And they had to do it in their own style.
The Horned One from Downstairs.
Abaddon: Dad (laughs).
"Skeletons in the Closet".
Abaddon: Shit. It was material I assumed to have been thrown
away when we recorded it. They are versions of songs that we
thought had been recorded over. But this is something the record
company did without me knowing, without Mantas knowing. Haven't
spoken to Cronos about it. They were versions of other songs with
different lyrics and different titles, and very vaguely different
music. I assumed the demo would be wiped over but it wasn't.
Would you want to say something to the people who still think
Venom is the epitome of true black and satanic metal?
Abaddon: I think they should listen to stuff we've done with an
open mind and not just say the first two albums are the be-all
and end-all of Venom. You should listen to Venom right across,
especially the last three albums, because they've been very good
albums. I think a lot of the fans who liked the old stuff would
like this stuff.
(Needless to say, I am now right in the middle of one of my
periodicaly Venom revivals again)
Cheers to Abaddon and Gun Records for arranging the interview
and to Marijn Vermunt for the phone recording equipment.
The text of the articles is identical to the originals like they appeared in old ST NEWS issues. Please take into consideration that the author(s) was (were) a lot younger and less responsible back then. So bad jokes, bad English, youthful arrogance, insults, bravura, over-crediting and tastelessness should be taken with at least a grain of salt. Any contact and/or payment information, as well as deadlines/release dates of any kind should be regarded as outdated. Due to the fact that these pages are not actually contained in an Atari executable here, references to scroll texts, featured demo screens and hidden articles may also be irrelevant.