At War With Satan

''At War with Satan'' is the third album by the British heavy metal band Venom, released in April 1984. It is a concept album that tells the story of a war between Heaven and Hell which the latter side wins. It was touted as Venom's crossover into mainstream music, but failed to do so. Shortly after it went on sale, the HMV retailer withdrew the album from its shelves because of its anti-Christian content.

Background

The inspiration for writing a track filling out an entire side of the record, according to Venom's bass guitarist and vocalist Cronos, came from Rush's '' 2112'' album. "At War with Satan" is centred on a character named Abaddon (which is also the alias of Tony Bray, Venom's drummer), who is the guardian to the gates of Hell. Cronos started writing, in his school days, a story about "how Hell revolts and takes over the heavens and throws God into Hell", a story later fleshed out as "At War with Satan". The title track's imagery and storyline largely evokes the Book of Revelation and John Milton's epic poem ''Paradise Lost'' (1667–1674), filtered through a postmodern horror movie and pulp aesthetic. The catchy opening riff of the title track derives from the song "Teaser" by Tommy Bolin (1975).

With side A taken by the epic title track, side B offers the "three-minute scorchers" for which the band is best known. The metal journalist Malcolm Dome said that songs such as "Cry Wolf" showed how much Venom had matured in their songwriting without losing their edge. According to the ''AllMusic'' reviewer Eduardo Rivadavia, the album's last track, "Aaaaaarrghh", is "possibly the funniest song ever recorded".

Artwork

''At War with Satan''s packaging resembled the leatherbound sleeve of a bookcover. A hundred-page ''The Book of Armageddon'' with the entire story of ''At War with Satan'' was supposed to be published alongside the album, but it never happened. The Swiss independent distributor Disctrade tried to interest Venom in H. R. Giger's painting ''Satan I'' (1977) to no avail. It later became the cover art of Celtic Frost's second album, '' To Mega Therion'' (1985).

Reception

By the time ''At War with Satan'' went on sale, Venom had reached a crossroads in their career.Dome 2002, p. 8. Critics felt that their third album should have propelled them into the heavy metal mainstream, something which failed to materialize. Venom were also being threatened by thrash metal upstarts such as Metallica, who two months before ''At War with Satans release were the opening act for Venom's ''Seven Dates of Hell'' tourMcIver 2009, p. 125. (Roughly a year later Venom also took Slayer and Exodus on their North American ''Combat Tour''). This was Metallica's first European tour, which included concerts in Switzerland, Germany, France, Belgium and the Aardschok Festival in the Netherlands.

The record was well received by major music magazines. "Proof positive that Venom are the best heavy metal band in the world", said ''Melody Maker''s Neil Jeffries of the album. "It will definitely go down in Heavy Metal history as the ultimate headbang," claimed a '' Sounds'' reviewer of the title track. ''At War with Satans entry on the "Where to Start with" section of the ''Kerrang!'' site says that this was the "last truly great record the Geordie three would make". Some criticism, though, was directed toward the album's production values, viewed as subpar.

The title track's merits divided critics. In the opinion of About.com's Chad Bowar, "At War with Satan" is at the same time "highly ambitious" and "bloated", but the song was "so over-the-top and so dramatic that it somehow worked" and made the album "an overlooked metal gem". The Allmusic review's tone was harsher: this concept piece was an "ill-advised anomaly", much of it "decidedly crap".

The rise of metal's popularity in the 1980s was paralleled by the political power gained by conservative organisations such as the Parents Music Resource Center (PMRC). The Christian campaign against the "offensive" content of rock music carried out by certain political groups in America eventually crossed over to the United Kingdom. Venom became one of its early victims: HMV stopped selling ''At War with Satan'' in fear of legal action because of Britain's obscenity laws. The PMRC later included the title track of Venom's following album ''Possessed'' in their "Filthy Fifteen" list.Jonathon Green, Nicholas J. Karolides
''Encyclopedia of Censorship''
New Edition. New York: Facts on File 2005, p. 625, accessed on 14 May 2013.
- Barry Miles
''Zappa: A Biography''
New York: Grove Press 2004, p. 332f., accessed on 14 May 2013.
- Wes Orshoski
''Classic Metal''
In: ''Billboard'', 25 May 2002, p. 76, accessed on 14 May 2013.

Track listing

All songs written by Cronos and Mantas.

Personnel

;Venom
* Cronos – bass guitar, vocals
* Mantas – guitar
*Abaddon – drums

;Production
*All songs published by Power Metal Publishing/Neat Music Publishing.
*Arranged and produced by Venom.
*Engineered and mixed by Martin Smith and Keith Nichol.

Charts

References

Footnotes

Works cited

* Fischer, Tom Gabriel & Ain, Martin Eric (2009). ''Only death is real: An illustrated history of Hellhammer and early Celtic Frost: 1981–1985''. New York: Bazillion Points Books.
* Dome, Malcolm (2002). At War with Satan. In: Venom (1984). ''At war with Satan'' D Surrey: Sanctuary Records Group.
* McIver, Joel (2008). ''The bloody reign of Slayer''. London: Omnibus Press.
* McIver, Joel (2009). ''Justice for all: the truth about Metallica''. London: Omnibus Press.

{{DEFAULTSORT:At War With Satan
1984 albums
1980s concept albums
Venom (band) albums
Obscenity controversies in music
Religious controversies in music
Christianity-related mass media and entertainment controversies
Speed metal albums