INTERVIEW WITH MANTAS, ABADDON, AND DEMOLITION MAN OF VENOM INC.
Venom Inc. is an incarnation of Venom with Mantas, Abaddon and Demolition Man. Metal-Rules.com had the tremendous pleasure to sit down with Venom Incand talk about how everything started out and how the hectic schedule has brought the band all over the world. There’s no need to say more, so here’s the interview with Venom Inc.
Interview and pics by Arto Lehtinen
I think that things started rolling with full force after the Keep it True Festival, which was the opening thing for the whole Venom Inc ?
Abaddon : Yes. Assured me and the rest of the band that it wasn’t about us forming a band again, or about us having a reunion. Because we didn’t really want to do that. It was about the fans who instantly hit the telephone and hit the websites and all these kind of things, to say, “Are you going to do this again?” We said, “No.” Its one thing for Keep it True Festival, five songs. That’s it. It was about other people who wanted it to happen, other promoters, other agents, the fans. The people who liked this kind of music, the people who liked our kind of music. They wanted it to happen and we got calls from Japan, China, Taiwan, North America, South America. Crazy. We haven’t stopped, since then we’ve had like one break – For two weeks – I went in holiday for two weeks and that’s it. That’s the only break we’ve had.
Did the demand for Venom Inc surprise you in a positive way, as all of a sudden you are going all around the world?
Abaddon : Yeah, of course. It wasn’t bands, bands. The different thing now between what happens now and what happened in the past, was the Internet and social media. So everything happens very, very quickly. People will say that social [media] is sometimes very negative, but when it’s positive it’s very positive and it’s very quick. That’s how it was for us. It was a very positive thing, which snowballed. It got quicker, it got quicker. We’ve been trying to make a record for maybe six months. People keep saying it’s good to have a band, but we need more music. We need new music. Otherwise we’re just playing old songs. Maybe good old songs, maybe classic songs that people want to hear. But they want to hear a new album, but we can’t find time to just go in the studio and take time off. Because people want to see us places like this and we want to play.
You have conquered new continents like China and other places that you didn’t play in the ’80s or in the ’90s. How do you feel about going to China, playing the old classic songs there, and in other new territories as well?
Abaddon : It’s amazing, because people are coming out and saying, “I’ve waited 30 years to hear this. I waited 25 years to hear this.” People are physically touched by the fact that you want to go there and you want to play for them. Of course we always did in the past, wanted to do it. But because you didn’t have this social media thing, you didn’t know that you had fans there. You didn’t know how many people wanted to see you and now we do.
Is it interesting how the Venom stuff has ended up in those territories, which have been kind of closed like China?
Abaddon : Yes. I think that maybe these territories are more open to music these days anyway. When we weren’t playing together, people were still buying records. People were still looking at the videos, people were still building an interest. This band from the very first continues to build interest and continues to have people. But when you see it, young people are coming to the shows. We’re not just playing to 40 year old guys, who kind of grew up on Venom. But there are new people and new kids are coming along, 17 year old. They’re very knowledgeable and they understand about the music and about the background to the music. About the older members of bands in the older bands, and how influential they are and they want to see Venom. They want to hear Venom, they want to hear new music. It’s what we’re here for, it’s what we want to do. New territories, old territories. We don’t mind, we still look playing in Germany and always did and France. We’d like to build a better relationship in England. But let’s see, if China wants to sponsor us to go. Two shows, one show, five shows. We’re going to turn up and play.
The last time when we talked you played in M:PIRE OF EVIL. Did your eyes open when you were playing with M:PIRE of EVIL that there is a complete new generation of kids wanting to hear the old Venom stuff?
Mantas : It absolutely amazed me, just like Abaddon said. I was the same, I sort of expected the old Venom fans to come out. We all did and they do, but the younger generation I’ve signed vinyls from guys and girls. They weren’t even born when WELCOME TO HELL came out…Yeah, it’s amazing. Even right away through America, the front row was parked with young people all the way through the whole tour. It’s incredible that this thing, it’s kept rolling but it’s kept growing as well. There is the new generations coming up all the time and that’s healthy. because if you don’t evolve, you become extinct.
Mantas : It’s difficult to say, I don’t give too much away. But if you look at the early albums, WELCOME TO HELL and BLACK METAL. Predominantly I wrote both of those albums, about 80-90% of them. All the riffs and everything like that. But it was Blues and it was Rock and Roll, when you really look at it. The songs which are really tearing the place up at the moment in territories that we’ve already played. When we added them into the set, “Angel Dust” and “Poison” and obviously “Live Like an Angel” was kicks up a storm as well and “Schizo”. The songs are very, very simple. So I think that’s what I’ve got to get back to, it’s just that simplicity. I’ve always been about song. The guitar for me it’s a tool to write songs. I really don’t give a crap about how many notes per second you can play. There is some amazing players, but it doesn’t bother me in this way. Because I’ve never had, really ever had any interest on that. For me it’s all about the songs, it’s about choruses, hook lines. Even a track like “Bloodlust”, when Tony kicks into a chorus; “Blood” and the whole audience does it. “Countess Bathory”, fuck on me.
Demolition Man : All the chorus is there, loosing mind and sing.
Mantas : The whole audience sings “Countess Bathory”, everybody is singing at the right minute. Everybody is going “Poison” and it’s like… Looking into the audience, you can see that reaction and like I said it’s those songs for me what people now call classic songs, that’s the mark of it. There is other bands around from what we were putting through, the new wave of British heavy metal – Where I don’t really feel a part of that – But there is bands, I’m not going to name any names. But there is bands that have come out of that movement, who are still going today and I’ve seen a few of them. They’ve got one or maybe two classic songs where the audience go crazy. With Venom, don’t ask me why. But every single song seems to have that effect from the opening of “Welcome to Hell”, through to “Die Hard”. Obviously “Black Metal, Angel Dust, Raise The Dead, Red Light Fever, Buried Alive”, always gets some massive reaction and “Countess”. It’s good to be in that position where you’ve got so many songs, and we were talking on the way here about we’re touring in October. It was like, then it’s time to change the set. We all said and we’ve said this constantly. What do we take out?What do we put in?
Demolition Man : You can pick five songs or 10 songs to add that people really want to hear these, but then…What do you take out? Then you go over the set, you don’t want to take anything out. But you want to put stuff in. It’s like; fuck! Because everybody wants to hear every single song.
Abaddon : When we do a new album, we’re going to want to put five songs on at least from that album.
Demolition Man : Yeah, exactly.
Mantas : The other thing that makes these songs…That makes these songs, I’m talking about the early material. It’s because with M:PIRE, we played “Black Metal”, we played “Die Hard, we played “Countess Bathory”. But when we did the Keep It True festival and we’ve said this a good few times, when Abaddon walked on stage and we played those songs with Abaddon. Totally different.
Demolition Man : Yeah, it changed…
Mantas : It was Blues, it was Rock and Roll.
Do you think that there is a risk that the modern day technology could ruin the good songs?
Abaddon : We have to get back in a room as three individuals, we have to get back to what we did as a band, when we did it. We have to throw riffs around, we have to throw different ideas or lyrics around. We have to beat the shit out of songs. We have to slow some down with speeds, some up. We have to get to the end of the day and be brave enough to stand up and say; that was shit, let’s go home and try again tomorrow. We have to be big enough to be able to do that and we have to be able to say, that wasn’t such a good riff. I don’t know what you’re doing in this and we have to be able to do that.
Demolition Man : What key motive is, what they were, what was the personalities. Cronos is still playing as Cronos, but these guys are still Mantas and Abaddon. If you ask him, “How did you write that riff and how did that…?” I don’t know, it’s his first reaction. I don’t know, it just happened. If you ask Tony, “What was the magic?” I don’t know, we just did our things. What the magic formula was was these three people, that was it. There was no more. That was these personalities playing a song together, created that whatever it was. What Jeff was just saying there is that’s exactly what we found, we were playing the same songs technically with M:PIRE. We can record technically using technology, but you add that fusion of Abaddon and then all over sudden you go, “My God! It’s a different animal.” It’s the personalities, playing those songs they made and sound the way they do. When we approach the album, we have to approach it in that way. Because it needs to be authentic, it’s not about selling some merchandise. It’s not about selling an idea of what the band should have been or was, it’s about clearly who we’re are and that. Unmistakably, when you hear Mantas plays those riffs, it’s Mantas. When you hear Tony behind the drums. Whatever you think, that is who should be sitting behind the drums.
Abaddon : People say that especially with Jeff, the guitar tone is exactly the same as it used to be. When people start yelling I go, I get it. Okay. When I’m suddenly in that tone, that guitar reminded me of something and it’s all coming back. That’s something that you can’t replicate…
When you get the new album possibly out, and Venom has a huge legacy behind. Of course people automatically check out how the new songs relate to the old songs.But when writing new songs, do you just put your legacy behind?
Abaddon : This is the legacy, the three of us have been playing together. There was a legacy set up there in 10 years of Venom without Cronos in the band. It was 10 years of really good albums, albums that everybody automatically liked. When we stop playing, we don’t say; let’s make a song like this, let’s make a song like this. It’s like I’ve got a riff and it goes like this, okay. How about this with it? How about if we do this? Then he says, wait a second. I’ve got these lyrics.
Demolition Man : When you’re trying to plagiarize yourself, you’re in a dangerous position that it could force dramatically. You can’t recreate WELCOME TO HELL, you can record an album called Hell and try and make it like Welcome to Hell, but it won’t do it. You can try and replicate BLACK METAL by calling the album Metal Black. You’re up against something all this time. It has to be organic, it has to be natural in how you write it. If you try and copy yourself, the danger of missing massively. So he writes how he writes. He plays how he plays and sings how he sings. I do the same, that’s what we do.
Abaddon : It’s different on every day. If you’re having a busy day, it’s pretty easy to hit the guitar. If you want to go out and have an argument with somebody, take it out on the drum kit. It’s a great way of putting that across. But some days you don’t feel like that. So an album lives and breathes and builds itself. It takes two weeks, three weeks and grows as you’re moving. It’s an organic thing and you capture that moment, capture that week or that two weeks or that month.
Well how do you usually start writing the new riff?
Mantas : Let’s put it this way, when we did European tour, we did South America, we did America. When I got back from touring, I loaded 82 riffs from my phone into the computer. Now we’ve been setting on the tour, so we’re sitting in hotel rooms and even when I went back home. I was just playing, messing around. That’s pretty cool. On my phone now I’ve probably got about other 20 or 30 riffs, just did the video clips of little and stuff. Sometimes I’ll just set a drum program and I’ll jam. I think if you ask any musician who writes songs, they’ll tell you exactly the same thing. A lot of the stuff just comes instantly. Sometimes I think if you work on a song for too long, it’s not meant to be. The best songs write themselves, you just let them happen and that’s the thing. I may have told you the story, but I’ve told everybody a story. But “Black Metal” was written when I was taking a dunk. I was just sitting on the toilet, some people will take a magazine in and they’ll read a magazine while they’re having a shit. One day I took a guitar in and I was just sitting there and the first few riffs from “Black Metal” and that was it. It can happen at any point, doing all that.
I know you’re influenced by Judas Priest in a big way and some of the inspiration came from them back in the day. But what about nowadays -There is a bunch of guitarist and bands nowadays. Do you get any inspiration from them when writing the new material?
Mantas : No. I listen to a lot of stuff. but I’ve got to admit, I tend not to listen to a lot of modern day metal.But influence now, God! I still go back to listen to early Priest, I listen to early Kiss. I Love Frank Marino. All my inspiration really is Blues based, Gary Moore. I’ve always said if someone said to me you only listen to one guitarist for the rest of your life, it would be Gary Moore. I love Zakk Wylde. I love Machine Head as well. But what is the point in me saying, I love the great Machine Head song. I wonder if I could write something like… There is no point.
Abaddon : There is no relevance going backward. There is no point taking it out and bringing it back. That’s stuff that doesn’t work. He’s got to take it and they go with it and they do their thing.
Demolition Man : I think that’s it, it’s not about re-inventing yourself. It’s about remembering your identity and being the identity. What made Motorhead great, it wasn’t them covering Metallica and Enter Sandman. It was just Motorhead and all of those albums, and any one of those albums straightly you know its Motorhead. You know what’s coming, you know what to expect. It might have been the fine, but that is identical. That’s their identity and I think that you can’t change the identity. Re-inventing was taking the band into an area where it was like aggression is okay, obviously you’re going to hear it. So your playing is going to be more mature and stuff, and maybe your thought process and what you want to say lyrically or whatever else. But the music has to just come over you. So you don’t go in there thinking, I’ve got to make it like this and that. You just get inspired and write. Your personality should be in there. What made Venom, was the personalities. Not one personality, not two. Personalities coming together, made it all work. Something that Jeff might have worked on for a minute, became a classic. Someone might have wrote four fucking months and had in a drawer, and they pulled it out the last minute. I’ve got this; I have been working around it. All over sudden it becomes a classic. That’s how they’re born, they’re born just an inspired moment. Somebody suggesting; slow that down, put that leg. Do this, that. All over sudden you go; my God! There it is. That’s why we’re constantly thinking, we’re constantly producing, writing, playing. Even on the pitch of lyrics, sometimes it’s a complete entity and we can look at it. Other times when I used to work out for PRIME EVIL, the lyrics on Prime Evil. Other than the ones that were already presented, was I would say the music was going to tell me. I had abandoned a blank piece of paper, they run their track and it told me what they wanted to see. I always say music, his music and visuals. He plays something and I see it in music. When we did “Metal Messiah”, for the M:Pire album. I was doing my job, I had a break. I sat down at the computer, I went on YouTube. Judas Priest track and then I go; I’m going to watch this. All over sudden the track Metal Messiah is born and I thought, I just typed it and went out. I sent it to his email and sent him a text, you’ve got something in your inbox. Think Judas Priest and that afternoon he wrote “Metal Messiah”. It was like, it just happened. That’s the beauty, we could work really hard on something like Tony says and come out at the end of the day going. Fuck all that and that. We can go in with just one idea and end up with something fantastic, that’s the beauty of it.
Mantas : When you talk about that, if you go back to the sort of first re-union of Venom – We came back together 96, ’97 – We played a song at the Dynamo festival called “The Evil One”, it was a brand new song. There was one day, we were in rehearsals and I just started playing the riff. Cronos came in and he went; keep going, keep going. He had a folder and he pulled out these lyrics and he went just keep going, keep going and “The Evil One” song was born. That
was just quick as that. I just had this riff and then Tony joined in and then that was it. It wasn’t even a day. We just jammed it and came up and then put a medley in and then we put the first section in the middle, that was it. Then we played it at Dynamo as an introduction to the new stuff. I think for me personally, it was probably the best song that came out of that reunion. It was just a five minute thing that was in the studio.
Demolition Man : You don’t know it’s there and you might go into a rehearsal, going through the recording process with an idea and a whole bunch of stuff. Something from that comes out that supersedes anything you were thinking could happen. But that takes minds and those intellectual characters to spot something you didn’t see. I’ve got this and this, hang on. Flip that around. You go, that works much better. I didn’t see that. Then all over sudden that’s what’s great about that approach, and that’s what happens when there is a band. That’s what bands are used to do, play as a band together. The whole digital processing is brilliant for mastering and doing everything you need to do after. But if you want to ca
pture the essence of what you want live, you have to approach it like you’re a band.
Mantas : When we were in America on the last tour just in June With Necrophagia, yeah. Necrophagia was sitting in the room while we were sound checking and I kicked in a riff, a new riff. I just had in my head, it isn’t recorded anywhere. I had this riff in my head. I kicked it and I started playing it, Abaddon joined in, Tony joined in and all the guys from Necrophagia turned round. Killjoy stood up and went, fuck. I went, “I don’t know – New”. He was like, fuck.
Demolition Man : “Are you going to play that tonight?” We went, “it’s not a song yet. We haven’t done it yet”.
Mantas : There was just something and I had an idea, he joined in, he joined in and we jammed and that was that.
Abaddon : I used to have a girlfriend in rehearsals like very early on and she would say; how do you know what he was going to play? I know him and I know what feel he’s going to go for and I guess when he’s maybe going to change it. Maybe I can influence the way he’s going to change it. It’s not difficult when you’re in a band, when you know what you want to do. It’s difficult when one person wants to take over and you get situations where, especially in our band, where a certain person will come along and say. This is how it’s going to be and this is how it’s going to like… That’s not Venom then.
Demolition Man : You lose it, you intend to lose it. On the stage the only times you’ll see us looking at each other is when we’re laughing at each other. Or when we have a bad PA and we’re trying to make sure that one of us can’t hear. But if we have the PA that we need and the mix, we just go out and have fun. We’re not really thinking about it, because we instinctively know where each of us is going to go. Just instinctively. We’ve done tracks, we did Red Light Fever. It was never, ever done. We were just going, maybe we should throw something in. I’m like fuck, we do Red Light Fever. Basically we turned up like that and one, two, three, four and did it. At the end of it we went, that’s a song we set them. But how did we get to the end point? You can’t get the end point, if you
don’t know each other so well. That you can instinctively know how the other one is going to turn and twist, and where he’s going to play. We’ve played through songs where we haven’t been able to hear. One of us has had a issue, a problem and we still keep the motor going. Because it’s almost like we fill in our own gaps for ourselves. We realize what needs to be done and we just keep moving with ourselves. It’s a brilliant position to be in. We don’t go, that’s fucking it. We can’t hear a fucking thing, throw the towel in and walk off stage and go; I’m going kick the dressing room over and I’m never playing here again, like a lot of bands fucking do. Especially ones these days, it’s like; there is nothing wrong with just being Rock and Roll. We’ve done it so many times, we’ve gotten there where the guys had a PA, that should be in a toilet or a lift playing Barry Manilow and they gone; what’s wrong with it? I go, look at the fucking sides of. We stopped playing and none of us could hear the fucking thing and went, fuck it. We’ll just go for it. Because it’s like, there is no point. We could throw a hissy fit, but it’s all we can just play and that’s what we do. We play and then you’re driving on instinct.
Your style and music influenced a lot of young metal musicians back in the day. There were bands coming out with a certain sound and having this Venom inspiration – Were you surprised back then to see an amount of bands coming out with Venom influences?
Abaddon : Not really, because we were probably the first band that said… My hero is Ritchie Blackmore and Jon Lord. These guys are virtuosi, they’re untouchable in what they do. Rick Wakeman, yes. People like these. We’re not like that, we write Rock and Roll songs and we kick the shit out of them. You can do that as well. You can buy your drum kit, you can get in a fucking garage or something. Like Dave Grohl is and you can be in a fucking band. You’re free to make mistakes. You’re not a shit musician, if you haven’t gone to Caltech and played for XYZ years and can do many different scales up and down. You won’t set up to be able to be a person who is in a band and able to get on with people in the band. So you got to be responsible for those members. You got to be responsible for coming and be a part of the van here and rehearsal money or something like this. So it builds something which other things that you have when you grow up in your life, don’t prepare you for the way this does. It’s a reliability and it’s the ability to make mistakes and to have a laugh and have a drink afterwards, have a pint afterwards. Sit down and talk about the good stuff.
Demolition Man : I think now in hindsight, they could look at those… We influence them, they were wearing Venom shirts. Tony went this morning on Facebook and saw a letter, a handwritten letter from Lars Ulrich to Jon Zazula – Trying to send him the first demo and excusing it and going, “We’ve all got Venom show. Don’t worry about that, it’s because we changed shirts with the guys. The bass playing is a bit shit and the sound, he has a big crap with it. But this doesn’t sound so bad, trying to pitch his band”.
Abaddon : The biggest thing about it is you can take a band, an extreme band like Immortal or something. You can take a band like Pantera and Metallica, and when you bring it back you get the Venom. You get to one point. These bands are completely different. They are different genres, they’re different genres all together. We used to just be, I drop heavy metal. There was the central path through Motorhead, through Black Sabbath, up through Judas Priest, Kiss. All encompassed in this rock thing, this heavy metal thing. Iron Maiden. You get a Venom and it goes bang and it spreads, and somebody who really loved death metal knows how different their bands are to somebody who really loves black metal. They’re completely different in their eyes. To us it’s just the core is Venom and that’s what so huge about it in my particular mind. It’s not that it influences some people, it influence everything. Such a big, wide display and that’s the thing. But it was because we came to say, yeah. It’s simple, you just have to do it. You have to just get up and do it.
Mantas : You spoke to me about my influences before and I said, yeah. Obviously Judas Priest and I’ll say early Kiss as well and early Motorhead, definitely early Motorhead. Now if you would speak to Rob Halford or Paul Stanley, or anybody out of those bands. Say, Mantas said that you’re his influence. They would probably look and go, the Venom songs is nothing like Judas Priest. It sounds nothing like Kiss. Maybe it does in the sort of Rock and Roll riffs and the Blues are there. But to say that those bands influenced us, I think it was as Abaddon said. That there is strong kind of chemistry, which whatever riff that I’ll promote with. Whatever we do to it, just became Venom.
Abaddon : It’s still just today…We didn’t have to go back and say; how do we do it?
Mantas : How do we do it? No. I’ve said this a good few times in interviews as well, that now we’ve got a 35, 36 year career. Something like that. It’s taken me this long, to the point where we’ve gotten back together. Myself and Abaddon and obviously Demolition Man coming in. So essentially we’ve got the prime even lineup back together again. That’s one point. But it’s taken me this long and fans telling me how authentic the sound is, and then me going on YouTube and listening. Putting the studio headphones on and listening and then going, yeah fuck. I can see it now. It’s taken me this long to realize that the core of the actual Venom sound came from him and me. Then we’ve added this guy back in and people are saying now, it’s more Venom than Venom.
Abaddon : We’re talking to a lot of labels and the labels are saying; can you explain what the music will be like? Or can we have an understanding of what the songs will be like? I said, yeah. It will sound like Venom.It cannot sound like anything else, it will sound like Venom. We’re not worried, we’re not suddenly saying; we hope it sounds like Venom. We get in the room, we kick this shit up the equipment. We’re going to come out, somebody somewhere is going to record it put. When we come out they’re going to say, yeah. That’s all Venom, it’s us.
Abaddon : Right now he sent us a letter to see, a solicitor’s letter to say we couldn’t use it. We sent the letter back, a legal letter back saying; you explain why we can’t use it? Show us where we’ve given you the rights to use the name Venom, or to use the logo of Venom. You understand, that’s Cronos. We all understand, I did the original logo. A new logo that he’s tided up since then is based on the original logo. All work that he’s putting out, any T-Shirt he’s putting out belongs to the band. Not to him. It was given freely to the band and shared freely by the band. But it doesn’t mean to say that one man takes all the merchandise money, or one man takes the name of the band. We’ve spoken to solicitors about this and what this is. The only thing is that he’s had the band in for 10 years, for the past 10 years. You can say the same thing, we had it for 10 years when Tony was in the band. How about that? It doesn’t stop us and nobody will stop us calling the band Venom, we’re tagged on the Venom and Jeff wasn’t comfortable at the beginning. That’s why we have Iron & Steel. That’s what Jeff wanted to call it. We didn’t call it Venom Inc, everybody else. The promoter said, we want to use the Venom logo on there. It’s your logo. How can’t you use it? It’s your logo. I was like, as far as I’m concerned we can use it. Tony said, we have to differentiate between his band and ours. We’re incorporating this into other things we do, so Venom incorporated Venom Inc. That’s very straightforward. The Solicitor let us start straight away and he started using on stage all of your backdrops at that point. Started playing songs from the set. I don’t give a shit. What I say to people and what we often say to people is go and see both bands, I don’t give a fuck. There is two bands, come see us. Please. Go see him as well. He was at Bloodstock last night and people in England will say; “No, I can’t wait for you to come to Sheffield”. We’re playing in December. Its okay, come to both. Come see is us in Sheffield. Go see him at Bloodstock. Have a joke about who is best, I don’t give a fuck. Just come along, see us and have some fun. Get something signed. If you’ve got records, bring them all. Buy a T-Shirt, don’t buy T-Shirt. Come and see the fucking music.
Now it’s a very tough question, first with you. Name three heavy metal albums that inspired you?
Mantas : One of them is going to be the first album that I ever bought as a kid with my own money and that was HOTTER THAN HELL by Kiss. There are so many. But I think OVERKILL by Motorhead, it’s got to be in there. Everything Priest have ever done, UNLEASHED IN THE EAST. I love that. When people say to me, pick your favorite Judas Priest album. I always Unleashed in the East, because it’s got a mixer of songs on.
Abaddon : Definitely the first Motorhead album, MADE IN JAPAN by Deep Purple. Made In Japan because of the band just had a freedom of great players, but they had a freedom. That was very inspirational when I was in the band, that like yeah there are guidelines to what songs you’re playing together and it’s what you’re playing. But there is still a freedom on stage and that’s where this band sits on the edge. Deep Purple always sat on the edge. They would look at each other and go, will go around another four times. Jon Lord would be like building it up and building it up, and Blackmore would go with him and Gillan would go with him. Instinctive and that’s fucking cool.
The third one?
Abaddon : So the third one I guess…Maybe the first Iron Maiden album.Because that was where things became metal as opposed to hard rock in my eyes.
Demolition Man : Totally influential was the first Motorhead Album. Hearing that first time, that was awesome. Before that I actually saw Kiss in Detroit. When I lived in Canada mid ’70, ’75, ’76 and got the Kiss LIVE given to me for a Christmas present. Kiss Army, Patch and everything. That inspired me to be interested in what this was. It wasn’t just standard rock music, it wasn’t Aerosmith. It was like something different, extreme if you like. Like; what is going on here? So that kind of made me noise things, the Motorhead album inspired me and AC/DC,HIGHWAY TO HELL. I saw Bon on that tour before he died and that made me… I was aware of AC/DC, but that album full of classics and it made me go back and revisit everything from DC. When you hear Bon Scott sing it was like, for me it was like he lived every lyric. It’s like he lived every lyric that he sang, it’s like Johnny Cash singing. Johnny Cash sang the songs, they were real. Even if he made them up, we felt that he’s telling something that really happened. That thing when you translate something that’s real, like we do in this band on stage. When it’s real, that’s when people say… When it’s fake, nobody is interested. That was Bon Scott for me, he was 100% real.
Alright guys, thanks for your interview. For your time and it was a pleasure to talk to you and I hope to see you in Finland soon or later.
Venom Inc : Absolutely. Thank you.