CRADLE of Filth was formed in Suffolk, England in 1991 and has its roots in the nascent black metal scene. But even back then, the band’s ambition was a step above the run-of-the-mill face painters.
While adhering to the look and style of the genre, the band’s ambitious sound included symphonic, goth and synth elements. This was fully realised on the outfit’s first two records – Cruelty and the Beast and Dusk and Her Embrace – both of which are rightfully lauded as landmark metal releases.
Many hardcore fans of black metal will dismiss Cradle of Filth as commercial sycophants, sucking the genre’s best elements and watering it down for mass consumption. With each release being accompanied by slick video productions that highlighted the band’s sexy vampire aesthetic, there was a feeling that this was metal designed for the Buffy generation.
Truth be told, Cradle of Filth’s sound has more in common with traditional heavy metal from the 80s, as the influences of Iron Maiden and Judas Priest loom large. And so is the case here on album no 14, The Screaming of the Valkyries, released last month (March 21).
The symphonic and goth influences are used to cloak the tunes with a veneer of smoothness that allow them to soar into the stratosphere in ways few bands can manage.
The guitar solos are bear the hallmarks of 80s greats as each melodious hook is executed with precision as well as brilliance. The female vocals which are very much part of the Cradle sound is beautifully delivered by Zoe Marie Federoff, who is also the band’s new keyboard player. She also happens to be the spouse of new guitarist Donny Burbage.
The band’s lead vocalist Dani Filth had said the latest album is a celebration of life and this is evident from the opener To Live Deliciously. Its galloping bass line and crunching riffs will have listeners swirling their heads in excitement from the get-go.
It is all systems go as The Trinity of Shadows and Malignant Perfection continue to assault ear drums with finely crafted metal. These are songs designed for festival mosh pits, not some dank underground club. It is symphonic metal of the grandest scale equalling the likes of Dimmu Borgir for scope and ambition, and it should be no surprise as the band has spent decades honing its sound.
There is nothing lo-fi or remotely black metal about Cradle these days, except maybe the use of corpse paint for stage dramatics. And, accepting that will allow listeners to enjoy this latest album for what it is – a great metal album full of bombast, great riffs and quality tunes.
This may be the closest the band has come to emulating the incredible tower of sound heard on its first two albums. And, that is saying something.
Alas, the much talked about collaboration between Dani Filth and ginger crooner Ed Sheeran is not on this album. The world awaits with bated breath but in the meantime The Screaming of the Valkyeries is well worth the attention of any metalhead who values 80s-style song craft with modern day production values.
The Screaming of the Valkyeries is big, bombastic and ultimately, great fun.
