So said Conrad ‘Cronos’ Lant, bassist vocalist for Venom when on stage at Trenton Gardens, New Jersey in 1986. Although funny in isolation, the attitude sums up Venom: defiantly loud for the crowd and oozing self-confidence.
Something that Cronos had in abundance.
And stand out they did.
By fusing punk rock (with an awareness of the nascent UK82 acts like Discharge and The Exploited), heavy metal and the theatrics of Alice Cooper and David Bowie, they created something that was faster, uglier and much more evil sounding than the likes of Iron Maiden.
Lant told the Guardian that he:
. . . had that snot and piss and shit element, which I wanted to put back into metal. I saw more and more bands shoving socks down their pants and putting lipstick on, and I just was disgusted by that, to tell you the truth. Fucking hell, if heavy metal was anything it had to be raw and dangerous and in your face.
In terms of the theatrics, he once wrote that himself, guitarist Mantras and drummer Abaddon:
. . . had decided on using stage names very early on. I thought it would be lame to be singing about Satan and Demons and all the dark forces, and to have basic normal names. I felt it wasn't right, we needed names to fit the personalities, something more formidable and demonic. That was always my problem with Ozzy. He’d sing about dark figures then spoilt it all by going, 'Oh God, help me!’ Duh, Wrong! That was stopping one step short of where I wanted to take this band. We were prepared to go beyond the Hammer Horror of Black Sabbath.
A review of their (then) recent album Hosannas... compared it to Venom (which was a bit off) so it made me track down Welcome to Hell and Black Metal. Two astonishing records that blurred the lines between Iron Maiden and Discharge. Pretty much ground zero for thrash metal, death metal and black metal. Later records were more miss than hit, but this year's 'Into Oblivion' is actually a great record so at least they went out on a high.
Because of that drive and determination to do something different, he was a divisive figure.
Cro-Mags guitarist Parris Mayhew recalled that:
Cronos was a jerk to Cro-Mags when we played with Venom. Our bass failed and we were on stage standing in front of a hostile Chicago metal audience with a bass that didn’t work with an audience chanting “fuck you go home!”. We asked to use his bass and he said, “$200.” And put out his open palm. Dick.
In his book Get in the Van, Henry Rollins wrote that:
Venom took almost an hour to get onstage. They had roadies tuning their guitars and shit. Finally, they hit stage. They were hilarious. It was like seeing Spinal Tap. The drummer had a guy that held an electric fan next to him and kept him high and dry. The singer/bass player was named Kronos [sic]. He had some great raps. He got the crowd to chant what I thought was 'Black Funky Metal' over and over, which I thought was pretty cool and then I thought that maybe I was wrong about these guys. I found out later that it was 'Black Fucking Metal.' Oh, excuse me. I expected them to go into [the Spinal Tap song] 'Sex Farm' at any second.
Regardless, they changed music for the better with their first two records and praise will always be forthcoming from me.

















