Cradle of Filth - Cruelty and the Beast

"Cradle and the Masterpiece"


Some people often try to squeeze Cradle of Filth into a genre-box, and most often it is the black metal genre, which is a genre the band never really belonged to and never will. There is so many influences in this band's music that you cannot pin-point it more than simply extreme metal, or even more simplified: Cradle of Filth. This is two labels the band and its countless members would rather have slapped unto the band, and rightfully so. Around this time the band was often compared to Dimmu Borgir and I do personally not see the link, even as a veteran listener. Two different bands with two distinctive sounds. So let's stop the comparison. 1998 is the year that Cradle of Filth's finest work saw the light of day and launched them further into stardom.

"But Elizabeth laughed, thirteen Autumns had passed, and She was a widow from god and His wrath, finally..."

As depicted in the booklet this is the fourth chapter in the Cradle of Filth anthology. "Cruelty and the Beast" is a concept album that follows the life and crimes of Hungarian Countess, Elizabeth Bathory. Compared to "Dusk... and Her Embrace" this album is not as gothic inspired, as this band never repeats itself. I would deem "Cruelty and the Beast" to be a more accessible album than its predecessor, as Dani Filth's vocals are more nurtured and he got a better grip of them this time. This means that the amount of screeching as been dialed down for a more diverse vocal, and this would also carry on to the band's next efforts. The line-up is almost identical to the previous album, the only change being Damien Gregori being replaced with Lector who only had a two-year stint with Cradle of Filth, leaving in 1999 to join Anathema. This album is sadly the last to feature Nicholas Barker, as he would later join Dimmu Borgir, but luckily they found a good replacement in Adrian Erlandsson. A common subject that often divides people when it comes to "Cruelty and the Beast" is the production. Somebody loves it, somebody hates it, and somebody is not too bothered by it. When reviewing these older titles, I try to exhume my memory and recall how I felt the first couple of times listening.

The sound of the drums definitely sounded odd to me back when I first was exposed to this record. Nowadays I do not have a single complaint with the production, but I guess that is something more than 10 years of listening will do to you. Some describe the drums as sounding like a typewriter and I can see where they're coming from, and it will come down to your first expression and/or if you can get accustomed to them. But hey, it is not like the early Bathory and Sodom records sounded great, is it? Some tracks from the album were actually re-mastered for the "Lovecraft & Witch Hearts" compilation in 2002 where they definitely adjusted the sound of the drums. As always, there is a lot happening on an album by this band and in the end, I am quite happy with the overall mix and sound of the instrumentation. Robin's bass is never left out and stands tall right next to the guitars, adding a satisfying depth to the music and helps elevating its sound. Lector brings some fantastic elements with him into Cradle and this album would not have been the same without his outstanding performance. A performance that is not out shunned in the mix, and together with the entire band it brings a dark and sinister atmosphere to the table. The guitar duo, Gian and Stuart, do not disappoint and just like on "Dusk... and Her Embrace" their work and riffs are simply incredible, and delivered with a great sense of variation. Unlike the guitar work on the previous album, you will not find as many '80s heavy metal inspired riffs, instead the band took a more extreme approach. And let us not forget the cast of three female vocalist providers who also appear on the album. Sarah Jezebel Deva with her atmospheric harmonies is an important ingredient when it comes to classic Cradle of Filth. Danielle Connington makes her last appearance on a Filth album, this time depicting a young Elizabeth Bathory. And last but definitely not least, we have the classy Ingrid Pitt lending her voice as the elder incarnation of Elizabeth.

"Elizabeth, mysterious. Cruelty brought thee orchids, from the bowels of the abyss."

Cradle of Filth shines the most when their albums follows the path of a concept album, instead of a more regular lyric driven album, and "Cruelty and the Beast" is the magnum opus of Cradle of Filth to pin-point just that. The structure of the music is once again varied and exciting, and that is a key point when making songs that reaches the length as they do on this record. Not two songs sound the same, which is a trademark of these notorious Brits. Most noticeable is the icing on the cake: the lyrics. Loaded with imagery and an outstanding structure, Dani Filth shows a remarkable talent with his poetry-inspired lyrics. Together with his distinctive vocals it is a perfect match and I cannot recommend it enough, as with many other works by Cradle, to sit down and read the lyrics while listening to the music.

A track like "Thirteen Autumns and a Widow" still manages to raise the hair on my neck and arms when it slowly builds up to the last stanza, and the double pedal kicks in together with the keyboard driven music. It never fails. "Cruelty Brought Thee Orchids" is a long-time favourite among fans, and for very good reason. The guitars is a big part of this, as this track is without a doubt the heaviest on the album and you'll see why just after one-and-a-half-minute into the song. Now to a track that I always used to skip back in the day, but now I find it essential to the story, and even the music of this album. The song in question is "Venus in Fear". This interlude track only features orchestration for the music part and then it features a moaning Elizabeth satisfying her lesbian fantasies and her excessive killing of young women who you can hear screaming for their lives. Speaking for myself, it was very provocative to listen to back in the day. What this brings to the album is, that after "Venus in Fear" the music becomes more extreme, as you're pummeled in the face with "Desire in Violent Overture", and lyrically Elizabeth's killings starts to mount afterwards. In short: A turning point for the album, both musically and lyrically. "Bathory Aria" is definitely a track worth mentioning as Cradle of Filth manages to pull off a track lasting for 11 minutes and not failing on delivering a marvelous and exciting composition. It is something that should simply be listened to instead of explained.

"Thirteen chimes of ancient strain, I conjure forth with dirge that fills the void with timbred pain, to fulfil my sexual urge."

I would definitely recommend that you go through this album from start until finish, just as you do not open a book and start at chapter five. This is a truly outstanding and exceptional listening experience. It's a shame that so many people hate this band on principle and almost as a trend. This album is  without a doubt Cradle of Filth's magnum opus as everything reaches a higher level. A fantastic album where every member performs exceeds their potential delivering an album that has given me chills in the past, and will continue to do so in many years to come.

"Forever severed from the thrill of coming night, where slow death alone could grant Her flight."

R.I.P. Ingrid Pitt, 1937-2010. 

Rating

9.7

Cradle of Filth - Damnation and a Day

"...And Darkness was Upon the Face of the Deep"


Damnation and a Day marked a big change for Cradle, as they were signed by Sony for the release of this very album. A common feature for this band's music is that every single album they put out is different, and that is something I really love about this band. It also marked the departure of bassist, Robin Eaglestone, and guitarist Gian Pyres. And how exactly did Cradle of Filth manage to put up with the line-up changes?

Quite well. Many feared a mainstream change to the music, that the band would sell out, now that there would be a Sony label on the CD. But that did not happen. Instead we got one of Cradle's most adventurous releases to date with great creativity and inspiration. For this album, a big orchestra and a choir was dragged into the studio, but this does not mean a drastic shift towards a orchestra orientated album. On the contrary, those elements brings the album to life. It gives it more substance, merely supporting the band, and it worked out perfectly. On the opening track, "A Promise Fever", it is displayed quite nicely how the guitar can be in focus, complimented by the choir, and the other way around plus some well conducted orchestra interlude passages. Of course, this is not how every track on the album are composed, but just an example of the new element to the music. The very core of this album is still Cradle of Filth. No doubt about it.

The guitars sounds great on this record, as they have a really powerful sound. This crunch and power is a good combination with the riffs themselves as they come out just as the sound: Crunchy and powerful. This is Dave Pybus' first appearance on a Cradle record, and his bass lays well in the mix giving the music a solid foundation and base. Adrian Erlandsson also performs great on this album and the drums sounds exquisite. Martin Powell have not been left out of the mix, as he is a big part of keeping the album true to the core of Cradle with his keyboard. He was a major figure in this band I must say that I miss him dearly. He was a main songwriter for this album, and wrote the score which the orchestra plays on Damnation and a Day. Dani Filth's vocals are just immaculate. Ever since Cruelty and the Beast he got a better grip of his vocals and more control. The blend between his deep growls and high screeches are simply marvelous. The production and mix fits this album well. It sounds big and that is a wise choice from the knob-turners. I do not think that it is overproduced, however it has the clear, yet strong and powerful sound it should have with all the elements that's been weaved into the songs.

The lyrical theme on this record is different from the previous ones. Just as the music has another inspiration, so does the lyrics. The vampire and goth lyrics are gone. Now we're treated with somewhat of a concept album based on John Milton's poem "Paradise Lost", seeing the fall of Man through the eyes of Lucifer. The album is divided into four parts which all are introduced with choir and orchestra, perfectly blended into the song that comes afterwards. And it also features some great narration from David McEwen. I would definitely recommend that you just listen to the entire from start until finish. With its 76 minutes it could definitely be prone to being too long, but it does not feel like it. This album holds a well crafted story with just as well crafted music. Just like any other album by Cradle I recommend that you sit down and immerse yourself into the music by reading the lyrics along to the music. Among my favourite excerpts from this album you will find: "A Promise of Fever", "An Enemy Led the Tempest", "Carrion", "Presents from the Poison-Hearted" and "Thank God for the Suffering". The two last songs in particular almost always manages to give me goosebumps. Even after more than ten years as a Cradle fan.

So who would I recommend this album to? Well, it is always hard to recommend Cradle of Filth albums as there is so many people out there who hates them. If you are into the early stuff this band put out, you should definitely check this album out. It is often overlooked, but in my opinion it stands tall and should not be dismissed. One of many great Cradle of Filth albums.

R.I.P. David McEwen.

Rating

8.7

Cradle of Filth - Total Fucking Darkness

"Total Fucking Excellent"


Note that this review is focusing mostly on the remastered version of the demo from 2014.

The demos of Cradle has always been known as the good material before they "went to shit". I don't quite agree with that though, as I love Cradle of Filth and I don't think they've made one bad album. No joke hidden in the grass there. Of course some albums are better than others, but the thing about Total Fucking Darkness is, that I've never really listened to it. Why? Because every time I put on the first track The Black Goddess Rises I just couldn't put up with the quality. I seriously can't remember listening to all of the tracks in one go. Until now.

What made me pre-order this demo is that it contains the only surviving track from Cradle of Filth's album Goetia which was supposed to have been their debut album. That track is Spattered in Faeces and it is my favourite track off this release without a doubt. It's pretty reminiscent of what Cradle turned into with the release of Dusk... And Her Embrace. For me the track is Cradle to the core with both atmosphere and brutality, the way only Cradle of Filth delivers it. It's a absolutely amazing track, and that alone makes this demo worth the money. It does however make me think about what could have been if they original Goetia recordings haven't been erased. Since Spattered in Faeces was recorded prior to their debut album Principle of Evil Made Flesh you would expect the vocals to sound like on that album. But they don't. They actually sound more like the vocal style that Dani developed on later albums in the 90's. And for me, that is just great as I never digged the vocals on Principle of Evil Made Flesh.

Furthermore we also get four tracks from the band's Samhain rehearsal in '92 that also contains an unreleased track; Devil Mayfair (Advocatus Diaboli), but besides that the rehearsed tracks are the same tracks as the ones on the original recording, just from the Samhain rehearsal. The track just mentioned is not as strong as Spattered in Faeces when it comes to both the music and vocal delivery. The main attraction on this demo is without a doubt the remastering and the missing Goetia track that I've already mentioned a dozen times. It's interesting to get a feel of the Samhain rehearsal but it's not as strong as the demo tracks as those tracks sound better and are better delivered. I often listen to everything on this release anyway, so don't think the rehearsal tracks a redundant. It's worth noticing that the demo's runtime used to be around 24 minutes and now it clocks in at 57 minutes. If you are one of the lucky motherfuckers who got a hold of the LP version then you also get two other tracks which is two instrumental pieces from the old keyboardist Benjamin Ryan.

With the re-release of this demo and the band's recent tour with Behemoth where they played an old school set, embraced their roots, I've really gotten my hopes up for the next album. The Manticore and Other Horrors had me thinking that Dani was out of screams but after seeing them two nights in a row in 2014 he proved me wrong.
So to sums things up, the remastering of this demo certainly brings some justice to the table and the demo, making it worth every penny. It's a true pleasure listening to Cradle's more brutal period in a more enhanced way than before. My favourite of the re-mastered tracks is without a doubt Unbridled at Dusk, the mid section just sounds fantastic. Get this if you love Cradle of Filth and their early period!

Rating

8.4