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Cradle Of Filth
By Rachael Reardon

Cradle of Filth is a band that have always turned my shit to water by only looking at the fuckers, and subsequently being glued to the toilet I’ve never had the guts (literally) to listen to them. So I receive Damnation And A Day, CoF’s latest album to date and plugged to be white hot, their best offering yet. 

So I bazz the CD on, whilst outside its pissing it down, lightening has revealed its ugly head and I slip on the headphones, careful not to wake up my household. 

If there were ever a case of pathetic fallacy, this is the fucking shit because as the intro kicks, or rather melts into my ears, I feel like I’m right there with George Romero himself, on the set of Night Of The Living Dead. 

As with all horror movies, I love the pure thrill of danger, or rather viewing it. Categorically however, I don’t wanna fucking be there. I change my pants, take a couple of long inhales/exhales and prepare. Let’s go. 

Just finishing the Ozzfest tour, CoF thereafter stirred up a right stink at the recent Metal Hammer (UK Magazine) bash, where they ‘ironically’ moaned at their lack of VIP treatment, which was followed by a good bottling by the crowd. Out of order and downright deplorable behaviour some may reason, or action that was rightfully so considering CoF are one of the biggest dark-metal bands to come out of Britain since…well, forever. Releasing their first demos back in ’92, this is CoF 10th album to date, one hell of an achievement in itself, so what have CoF got to offer 11 years on…?

Crackles of thunder set the dark lonely woods scene, ensued by creepy shrilling violins, the ones which imply someone, or generally you, are about to get fucked over by something sinister down in that forest you now realize you should never have wandered into.

 Bring in the ascending full blown orchestra overlapped with the regretful choir, one which when you hear, you know you’re about to get shat on by the millions of wing-adorning demons hovering around your head.

Soon descending into a major head-fuck, any already disturbed mind is about to get screwed up the arse with Dave McEwen’s text book reading,  “….and the earth was without form and void, and darkness was upon the face of the deep”. One hell of an introduction, to one hell of an album. 

‘The Promise of Fever’ with its initial slow pulse of painful wails-choir stylee -and bass lines, ruthlessly thunders in double kick drumming, and then WHAM! Blood curdling screams and deep, clangourous roars beat out each syllable solitarily, as the choir gently interludes, spookily proclaiming, “Shining Feriluce, lustrous scourge of fallen spirits, basked in glory flew, to lakes in sacred altitudes…”. 

The main riff is pretty basic and it’s easy to see that it’s the lyrics that the focus is on. They are in depth and challenging to say the very least – “from sculptured lips of serafin, whom fate then cruelly rent, with sleight-fingered strains of harmony…” 
Written in verse form, like that of a hymn, with small statement interludes the lyrics dark and pretty inaccessible to understand if you’re not already a big fan of the Filth. Otherwise, its probable you will understand every word of this concept, fucked up story telling time. 

Along with this, the several vocalists, the choir, the orchestra, and the average set up of a band plus keyboard duties, you can’t help but appreciate about how much accuracy and effort Cradle of Filth have put into each eloquently crafted track. 

The aptly named ‘Serpent Tongue’ of Parts 1 and 2 depicts the tale of Adam and Eve (one of all track content of ‘characterizing the bible’), via an echoic intro reminiscent of a more shivery ‘Falling Away from Me’ a la Korn. Cue tribal kick drums from Adrian, rivaled by Dani Filth’s strained yelps and incomparable sore-throat inducing growls. With a drowsy pace, this track follows the general theme of the album of Luficers fall from heaven and his imminent rise to power. 

Over all the guitars and orchestra collectively club together to form some good melodies, but Dani Filth’s teeny gargoyle/muthafucka gargoyle voice and the decisive yet predictable double bass drag the fuck out of this album, and you can only feel its gets a bit boring after a while. 

There’s no question that this a great album though, an accomplishment which should be praised for the clear work and discrepant instrumental and extra lyricist usage, but…when its all done on each and every track, its no longer exciting or impressive to hear. 

The short instrumental intermissions with McEwen benefit the record by breaking it up, “Satan which decieveth the whole world, he was cast out into the earth, and his angels were cast out with him!”, otherwise the tracks all seem to merge. 

If an existing fan, it’s pretty sure you will be more than stimulated at this epic album, if not a follower before, be sure to check out the concept sound of Cradle Of Filth, if not one to turn you on, one so unique that it may certainly enlighten you.

Listen to Samples and Purchase CoF CDs online

Visit the official website for more on the band and their new CD!