Album Review:  Venom – Into Oblivion 

Review by Rick Eaglestone for MPM

Since 1978, Venom have been the architects of extreme metal chaos, and with their sixteenth studio album Into Oblivion, the Newcastle titans prove they are still capable of conjuring sonic hellfire that would make lesser bands weep.

There are certain immutable truths in the realm of extreme metal: Venom created Black Metal, Venom defined the template, and that signature Venom sound – that gloriously filthy, wickedly catchy amalgamation of punk fury and metallic malevolence – remains instantly recognizable whether you’re spinning Welcome to Hell, Black Metal, or anything in between. From the grim streets of Newcastle in 1978, this unholy trinity emerged with a singular vision: to create the heaviest, darkest, most uncompromising music the world had ever heard. They succeeded beyond anyone’s wildest expectations, and in doing so, they didn’t just create an album or two – they birthed an entire movement that would reshape heavy music forever. It’s there in the DNA, coded into every riff, every snarl, every thunderous bass rumble. And why shouldn’t it be? This is the sonic blueprint that launched a thousand corpse-painted ships, the primordial ooze from which an entire subculture emerged.

At the helm, as always, stands Cronos – the leather-clad, bass-wielding architect of chaos whose growl has become as iconic to metal as Lemmy’s bass tone was to rock. Flanked by the blistering guitar assault of Rage and the relentless battery of Dante, this lineup has now surpassed all others in Venom’s storied history, seventeen years of brotherhood forged in the fires of the underworld. And Into Oblivion is their crowning achievement together.

The album explodes into existence with its title track, Into Oblivion, which wastes absolutely zero time with pleasantries. This is Venom at their most primal – a cacophonous declaration of intent that feels like being dragged through the gates of hell by your ankles. The production here is notably stepped up from previous efforts; there is a clarity to the chaos that allows every element to breathe while maintaining that essential grime that makes Venom, well, Venom. Cronos’s bass rumbles like tectonic plates shifting beneath your feet, and when the chorus hits, you know immediately that this is going to be a journey into the abyss worth taking.

Lay Down Your Soul was the perfect choice for lead single, and it’s easy to hear why. This is Venom tipping their studded caps to their own legacy, with deliberate echoes of Black Metal woven throughout its DNA. There is something deliciously self-aware about it – these veterans know exactly who they are and what they mean to metal history, and they are revelling in it. The sing-along chorus is infectious in a way that only Venom can pull off; it is simultaneously evil and anthemic, dark and strangely celebratory. When Cronos bellowed about this being a future live classic, he wasn’t exaggerating. This is destined to become part of the Venom pantheon, the kind of track that will have festival crowds raising their fists and howling along for decades to come.

Nevermore takes a slightly different approach, leaning into that “progressive” element mentioned in the album’s description without losing an ounce of heaviness. There is a sophistication to the arrangement here that shows genuine growth – this isn’t Venom trying to be something they’re not, but rather Venom expanding their palette while staying true to their roots. Rage’s guitar work particularly shines here, with solos that feel purposeful rather than just technically flashy. There’s emotion beneath the aggression, and it elevates the entire track.

Then comes Man & Beast, and sweet merciful Satan, this is where the album truly bares its fangs. This is quintessential Venom – the kind of track that could have sat comfortably on At War with Satan or Prime Evil but somehow feels completely contemporary. The riff is an absolute monster, the kind that burrows into your brain and refuses to leave. Dante’s drumming here is particularly noteworthy; he’s not just keeping time, he is driving the song forward with relentless precision, adding fills and accents that give the track genuine dynamism. This is the sound of a band that has been playing together long enough that they function as a single organism.

Death The Leveller slows things down – relatively speaking – and allows the album to breathe. This is Venom at their most atmospheric, though “atmospheric” is a relative term when we’re talking about a band whose entire career has been built on sonic violence. There is a doomy quality to this one, a weight that feels almost oppressive in the best possible way. The lyrics, dealing with mortality and the great equalizer, feel particularly poignant given the band’s longevity. These are men who have stared into the abyss for nearly five decades and lived to tell the tale.

As Above So Below brings back the velocity with a vengeance. This track feels like classic early ’80s Venom filtered through modern production sensibilities – it’s got that raw, barely-controlled chaos that made their first three albums so revolutionary, but with a sonic clarity that allows you to appreciate the actual musicianship on display. Make no mistake, these guys can play, and this track proves it. The interplay between Cronos’s bass and Rage’s guitar during the breakdown is particularly inspired, creating a groove that is almost hypnotic in its heaviness.

Kicked Outta Hell is pure, uncut fun. If Venom has a sense of humour – and they absolutely do, despite the demonic imagery – this is where it shines through. The title alone is gloriously tongue-in-cheek, and the track itself is a riotous celebration of everything that makes this band legendary. Fast, furious, and utterly unpretentious, it’s the kind of song that makes you want to throw on a leather jacket and cause some trouble. The chorus is ridiculously catchy, the kind that will have you shouting along even if you know you shouldn’t be enjoying something this gloriously juvenile. But that’s part of Venom’s charm – they never forgot that metal is supposed to be fun.

Legend marks a shift in tone, serving as something of a mid-album reflection. This feels deeply personal, perhaps an acknowledgment of the band’s own mythic status within metal. There is a grandeur to the arrangement that suggests this wasn’t just another track but rather something that held particular significance during the writing process. Rage’s guitar tone here is absolutely gorgeous – still heavy, still aggressive, but with a melodic sensibility that adds genuine emotional weight. When Cronos snarls about legend and legacy, you believe every word, because you are listening to living proof.

Live Loud is the album’s mission statement distilled into pure sonic aggression. This is what Venom has been doing for 47 years – living loud, playing loud, refusing to compromise or water down their vision for anyone. It’s anthemic in the way that only classic heavy metal can be, with a chorus that demands participation. If you’re not banging your head by the halfway mark, check your pulse – you might be clinically dead. The energy here is absolutely infectious, a reminder that despite their veteran status, these guys still play with the hunger and intensity of a band with everything to prove.

Metal Bloody Metal – I mean, come on. Even the title is peak Venom. This is the band at their most unashamedly, gloriously themselves. It’s a love letter to the genre they helped create, delivered with all the subtlety of a sledgehammer to the face. The riff is pure headbanging fuel, the kind of groove that feels physically impossible to resist. Dante’s performance here deserves special mention – his fills are creative without being show-offy, his timing is impeccable, and he drives the song forward with the kind of power that only comes from years of playing together. This lineup’s chemistry is undeniable, and tracks like this prove it beyond any shadow of doubt.

Dogs Of War unleashes hell with military precision. There is something almost martial about the main riff, a relentless forward momentum that feels like an advancing army of the damned. The lyrics, presumably dealing with conflict and chaos, are delivered with Cronos’s trademark snarl, and the whole package just works. This is Venom doing what they do best – creating metal that’s simultaneously primitive and sophisticated, simple, and complex, stupid and genius. The breakdown about two-thirds through is absolutely crushing, a moment of pure heaviness that reminds you why this band has endured for nearly half a century.

Deathwitch keeps the intensity high as the album races toward its conclusion. There is a darkness to this one that feels particularly potent, even by Venom’s standards. The occult imagery that has always been part of the band’s aesthetic is on full display here, but it never feels cartoonish or forced. These guys have been dealing in demonic subject matter for so long that it’s simply part of their musical vocabulary. Rage’s solo here is one of the album’s highlights – fierce, melodic, and perfectly suited to the song’s vibe.

And then comes Unholy Mother, the album’s closer, and what a way to end. This track feels like a culmination of everything that came before – it has got the aggression of the openers, the sophistication of the mid-album tracks, and a sense of finality that makes it the perfect conclusion. There is an epicness to the arrangement that suggests this was always meant to be the final word, the last statement before the curtain falls. When the final notes fade, you’re left exhausted, exhilarated, and already wanting to hit play again.

What strikes me most about Into Oblivion is how it manages to honour the past while charging fearlessly into the future. These are the founding fathers of an entire genre, legends whose influence can be heard in everyone from Bathory to Mayhem to Darkthrone to modern black metal torchbearers worldwide. Walk into any metal festival on the planet, and you will see Venom shirts worn by kids who weren’t even born when some of these songs were written. Their legacy is woven into the very fabric of extreme metal, and yet they refuse to become museum pieces. They could have easily delivered a straightforward throwback, given the fans exactly what they expected and called it a day. Instead, they have crafted something that feels vital, urgent, and completely relevant to 2026.

Consider the journey: from the NWOBHM explosion to pioneering a genre that would spawn countless subgenres, from lineup changes to lineup stability, from underground cult status to acknowledged legends. Through it all, the core essence of what makes Venom special has remained intact – that perfect balance of raw aggression and unexpected catchiness, that refusal to take themselves too seriously while still delivering music that means everything. Into Oblivion captures all of this and distils it into thirteen tracks of pure heavy metal fury.

For longtime Venom disciples, this is a triumph. For newcomers curious about what all the fuss is about regarding these black metal pioneers, this is actually a perfect entry point – it encapsulates everything that makes the band special while showcasing their continued evolution. And for the metal world at large, it is a reminder that the gods of Black Metal are still very much on their throne, and they have absolutely no intention of abdicating.

TRACKLISTING

1. Into Oblivion
2. Lay Down Your Soul
3. Nevermore
4. Man & Beast
5. Death The Leveller
6. As Above So Below
7. Kicked Outta Hell
8. Legend
9. Live Loud
10. Metal Bloody Metal
11. Dogs Of War
12. Deathwitch
13. Unholy Mother

PREORDERS HERE – https://venomslegions.lnk.to/intooblivionPR 

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