Right, I’m old enough to remember when the very first Venom album hit and remember thinking at the time, this is changing things. Venom are the genesis. They are ground zero, the definitive starting point, and the creators of a language that didn't exist until Cronos decided to scream it into a microphone. Decades later, as the black metal genre has split, expanded, and mutated into a thousand different sub-genres, they all ultimately lead back to this singular source.
On Into Oblivion, Venom proves that they aren't just sitting on a throne of nostalgia; they are still at the absolute top of their game, delivering a slab of raw-boned, high-velocity filth that reminds the "next big thing" crowd exactly who built the foundations they’re standing on.
The album hits the ground at a full sprint with the title track, Into Oblivion. Immediately, you’re hit with that signature Venom sound that sits right in the pocket where early thrash meets the unpolished aggression of UK punk. The production avoids the clinical, "laptop-metal" traps of the modern era, opting instead for a punchy, mid-range thud that allows Cronos’s unmistakable bark to sit front and centre. It leads directly into Lay Down Your Soul, a track that leans into the theatrical, occult swagger the band has mastered over the last forty years.
What stands out on this release is the sheer, bloody-minded consistency of the songwriting. Tracks like Nevermore and Death The Leveller move with a mechanical energy, providing a rigid framework for those jagged, saw-blade riffs. There’s a sophisticated level of restraint here; they know exactly when to let a groove settle and when to kick the floorboards out from under the listener. As Above So Below is a particular highlight, a mid-paced monolith that captures that specific, ominous atmosphere of a world slowly drowning in its own noise.
The back half of the record, Kicked Outta Hell, Metal Bloody Metal, and Dogs Of War is an unapologetic salute to the band’s own legacy. Metal Bloody Metal is a glorious bit of fan service, an anthem for the long nights in the dive bars where the amps are cranked and the beer is cheap. It’s honest, unvarnished music for people who understand that the point of a riff isn't to show off, but to start a riot.
When the final feedback of Unholy Mother eventually dissipates, the realization is total: Venom continues to exist because the world still needs this specific kind of danger. They haven't just filed another report from the abyss; they’ve reminded us that they are the ones who dug the hole in the first place.
Into Oblivion is a heavy, shimmering bit of survivalism that proves Cronos is still playing for much higher stakes than the average veteran. It’s a reminder that while genres may change, the original recipe is still the one that leaves the deepest mark. 9/10
Foo Fighters - Your Favorite Toy (Roswell Records/RCA Records) [Rich Piva]
The Foo Fighters have failed to be interesting since 1995. That first one man band record was raw, emotional, had grit, and contains what is still the best FF song (Alone + Easy Target). I got to see them play a show with Shudder To Think on their first tour, and even though STT blew them off the stage it was a super fun, heavy and energetic show. He hired Pat Smear and stole the rhythm section from Sunny Day Real Estate, which was pretty cool, too.
Foo Fighters - Your Favorite Toy (Roswell Records/RCA Records) [Rich Piva]
The Foo Fighters have failed to be interesting since 1995. That first one man band record was raw, emotional, had grit, and contains what is still the best FF song (Alone + Easy Target). I got to see them play a show with Shudder To Think on their first tour, and even though STT blew them off the stage it was a super fun, heavy and energetic show. He hired Pat Smear and stole the rhythm section from Sunny Day Real Estate, which was pretty cool, too.
The Colour And The Shape had its moments but it was over-bloated, overrated, and did not invent Emo, even though two of the guys in the band may have. Yeah, they had a whole bunch of hits since then, stadium tours, big records, etc; all of it has been a huge snore fest. The most interesting things recently have happened outside of the music. Taylor died, which was super sad and terrible as he was, by all accounts, an amazing drummer and an even better human.
Dave got caught not being Mr. All American Rockstar and has a toddler (not with his wife) to prove it, and the band unceremoniously dumped Josh Freeze as their drummer in a seemingly very cold and corporate way. Regardless of any of the TMZ drama, the music is still super boring, and trust me I have tried. Now, the Foos are back with album twelve (!) and also back to boring the hell out of me, with Your Favorite Toy.
Most of this record is formulaic drivel. Songs like Unconditional and If You Only Knew had to be Foo Fighters songs before, right? If not, could have fooled me. The production is so slick it gives me the ick. Dave tries to show he is still a “punk rocker” with songs like the opener, Caught In The Echo, but we are on to you sir, no matter how much you tell us you love Husker Du.
Most of this record is formulaic drivel. Songs like Unconditional and If You Only Knew had to be Foo Fighters songs before, right? If not, could have fooled me. The production is so slick it gives me the ick. Dave tries to show he is still a “punk rocker” with songs like the opener, Caught In The Echo, but we are on to you sir, no matter how much you tell us you love Husker Du.
Child Actor is a painful listen, and not in a raw, emotional way but more of an “I’m cringing so hard my face hurts” way. I assume Asking For A Friend is about Taylor, so I will give it a pass, but it really is the best song on the record, which is not saying much, but if I had to pick one it would be this one. The good news, Your Favorite Toy is only about 36 minutes, so it is kind of short. Run with that as the headline.
I don’t like dunking on the Foo Fighters. Dave has been an important part of my musical life. I just wish the band was in the least bit interesting, rather than trying to fill stadiums. Those two things do not need to be mutually exclusive, but for the Foo Fighters and Your Favorite Toy, they still seem to be. 3/10
Internal Bleeding - Settle All Scores (Maggot Stomp) [Mark Young]
Representing the last episode of ‘Metal slipping through the cracks’, the death metal on offer running through Settle All Scores is what I would call comforting noise. I’ll expand on that in a moment, but first a little on Internal Bleeding. With 30 years in the game punctuated with brief gaps they have consistently delivered brutal, tightly wound metal that has that ‘chunk’ to its sound. I’m sorry I can’t describe it better than that, except that when you listen to this with decent headphones on you will hear it.
I don’t like dunking on the Foo Fighters. Dave has been an important part of my musical life. I just wish the band was in the least bit interesting, rather than trying to fill stadiums. Those two things do not need to be mutually exclusive, but for the Foo Fighters and Your Favorite Toy, they still seem to be. 3/10
Internal Bleeding - Settle All Scores (Maggot Stomp) [Mark Young]
Representing the last episode of ‘Metal slipping through the cracks’, the death metal on offer running through Settle All Scores is what I would call comforting noise. I’ll expand on that in a moment, but first a little on Internal Bleeding. With 30 years in the game punctuated with brief gaps they have consistently delivered brutal, tightly wound metal that has that ‘chunk’ to its sound. I’m sorry I can’t describe it better than that, except that when you listen to this with decent headphones on you will hear it.
I think it’s the way that guitar and bass is layered, it’s like a warm, full sound instead of the brittle dynamics you sometimes hear. It’s this sound that ties into that comforting noise I mentioned earlier. At this point in their career they haven’t reinvented or tried to chase trends. They have stayed close to what they know and it shows, with each track having that authentic feel to it.
As soon as Intangible Pact starts, you know exactly what is coming at you. There are no airs or graces, moments of melancholy here, just pure in your face aggression, pounding drums, riffs on the attack and low vocal register. Its like stepping back in time (in a good way) to a time when all songs started like this. Its crisp, tight and heavy. It picks up the baton, bar, whatever works as a barometer for you and then hammers it into place as if to say nothing shall fall below this line.
The title track follows on and delights in achieving those same aim. It has this vicious groove to it, nestled in amongst the blasts. Settle All Scores doesn’t hang about, the album, like the song has somewhere to be and can’t afford to be late. The two set out the template here, and for me that is a good thing. It doesn’t promise you anything other than death metal, old school in approach, new school in how it sounds.
Whether it’s the lurching crunch of Prophet Of Deceit or the royal riffery of Crown Of Insignificance each sounds mint, and because of this the songs achieve an impetus that would be missing if it sounded like it was recorded in a tunnel. I’m not suggesting that this a world beater or anything like that, I think that would be facetious on my part. I think that you can hear a lot of modern metal in the songs here, and I would say that it is a testament to bands like them, those that have put the long years in and can still come up with music that is as intense as their debut.
Remember that bar that was set? Yep, it stays in place right through. But you knew that, Glorify The Oppressor rips, bouncing along at that classic death metal mid pace, and the closer, Deliberate Desecration burns with a different vibe, and still keeps that level of intent in place. You can put this on and know that for half an hour you can switch off and delight in the pure riffola on display. 7/10
Remember that bar that was set? Yep, it stays in place right through. But you knew that, Glorify The Oppressor rips, bouncing along at that classic death metal mid pace, and the closer, Deliberate Desecration burns with a different vibe, and still keeps that level of intent in place. You can put this on and know that for half an hour you can switch off and delight in the pure riffola on display. 7/10
Eihwar - Hugrheim (Season Of Mist) [Matt Bladen]
French 'Viking War Trance' anyone? If your answer was yes then Hugrheim will be the album for you, though you probably already own their debut record so maybe I should be talking to the people who asked what the hell is 'Viking War Trance'?
Signed to the label that is at the pointy end of the Viking/Nordic folk sword, Eihwar join the likes of Heilung to appeal to anyone that loves to braid their beard and put on armour, although unlike many of the Nordic bands, Eihwar bring the tribal drumming and traditional instruments to the dancefloor as they build these songs into rhythmic frenzies of drum powered music and vocals chants.
Hugrheim is the 10th hidden world of Yggdrasil in Eihwar's fantasy mythology, where the two musicians Asrunn (vocals/shamanic drums) and Mark (vocals/war drums/lute/everything else) have been embodies by the spirit of two Viking warriors and use them to create hypnotic war chants and with tracks such as Skuggaríki create their own brand of Viking industrial music or maybe Viking EDM?
I think 'Viking War Trance' is the best name for it, if Heilung, Wardruna, Danheim, Nytt Land, and Forndom are your thing but you've always wanted to throw shapes to it then, Eihwar maybe your new favourite experience of Norse history. 7/10
Signed to the label that is at the pointy end of the Viking/Nordic folk sword, Eihwar join the likes of Heilung to appeal to anyone that loves to braid their beard and put on armour, although unlike many of the Nordic bands, Eihwar bring the tribal drumming and traditional instruments to the dancefloor as they build these songs into rhythmic frenzies of drum powered music and vocals chants.
Hugrheim is the 10th hidden world of Yggdrasil in Eihwar's fantasy mythology, where the two musicians Asrunn (vocals/shamanic drums) and Mark (vocals/war drums/lute/everything else) have been embodies by the spirit of two Viking warriors and use them to create hypnotic war chants and with tracks such as Skuggaríki create their own brand of Viking industrial music or maybe Viking EDM?
I think 'Viking War Trance' is the best name for it, if Heilung, Wardruna, Danheim, Nytt Land, and Forndom are your thing but you've always wanted to throw shapes to it then, Eihwar maybe your new favourite experience of Norse history. 7/10
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