Cradle of Filth, a staple in extreme metal, continues to welcome new generations of musicians through lineup rotations while also embracing their veteran fanbase. Somehow, these UK extreme metal giants manage to navigate changes, whether personal, within the music industry, or through the revolving door of lineup shifts, and yet, their style remains intact while they continue to experiment with new territories. Now, with album number fourteen, they introduce new members Donny Burbage on guitar and Zoe Marie Federoff on keyboards/vocals. Regardless of these new faces, mastermind Dani Filth has remained, more or less, the viscera of Cradle of Filth, or perhaps, the mortar of the damned, consistently delivering horror masterpieces in grotesque and brilliant auditory form. That consistency defines Cradle of Filth, and The Screaming of the Valkyries is no exception, serving as the follow-up to 2021’s Existence is Futile, but this time under their new home at Napalm Records.
Track By Track:
“To Live Deliciously”
“To Live Deliciously” sets the horror atmosphere: Is it Midian? Transylvania? Wherever it is, we know it’s somewhere dark and devious, filled with explosive riffs and coarse screams. Here it is, the opening track of Cradle of Filth’s latest record, celebrating over thirty years with Dani Filth’s signature screams, which we’ve all come to know and love. The track serves as a heavy introduction to yet another standout album, one you’ll want to add to your own Cradle of Filth collection. With the addition of Zoe on keys and female vocals, she fits right in with the family of morbid filth.
“Demagoguery”
The eerie key introduction of “Demagoguery” brings a flavor that veteran fans will recognize from their 90s-era style. Props to Zoe, who performs as though she’s been with the band for nearly thirty-five years – genuinely familiar with the craft and what’s needed to enhance a Cradle of Filth album. There’s no question about her ability. Dani Filth continues to raise the bar with this song alongside the standard melodic breakdowns. He takes a break from the screeching scorn of musical terror, almost as though it’s playing a part in opening the gates of hell itself. Every suspenseful scene needs a break, or a melodic breakdown. Dani’s whispers slip into a new, darkened territory, with guitars swinging like a dark romance, only to be found through tortured love stories. A mortal vs. immortal? Who knows? The music moves you into a horror story of your own choosing.
“The Trinity of Shadows”
Taking no prisoners, “The Trinity of Shadows” starts off heavy and ruthless, ready to behead anyone getting in the devil’s path. However, with the enhancement of the keyboards, it moves into a fun, dark piece —as though it’s a gala for all monsters and creatures to gather. Think Hotel Transylvania, but just for adults, with no mercy or rules. The track moves so fast and heavy, filling your ears with a clutter of instrumentation—but the good kind of clutter. It’s a fun song that could definitely be played live, and quite well at that.
“Non Omnis Moriar”
Slowing things down, it’s the devil’s turn to have his dance with light in “Non Omnis Moriar.” Dani Filth’s whispers come in once again, slowing the clock as the dark romance bids goodbye to a demon’s love. Even the darkest souls experience heartache. Zoe’s vocals are highlighted in this song, proving once again her place in the band.
“White Hellebore”
Going back to the gates of hell with “White Hellebore.” It starts out with a heavy intro, then leads into guitars, slowly building up to Dani Filth’s vocals, taking on a more bouncy direction until Zoe’s vocals kick in, sounding like a goddess walking through the Hades of ruin.
“You Are My Nautilus”
“You Are My Nautilus” has a sludgy intro, shifting into heavier moments before slowing back down to Dani Filth’s whispers and soon transcending into a classic Cradle of Filth style. One could believe it came from a b-side of 1998’s Cruelty and the Beast, as it fits seamlessly into the record. Dani Filth’s vocals have not aged, and his creativity remains as fresh as ever. After all these years and fourteen albums, Dani Filth still conjures up devious dark magic, casting yet another horror adventure filled with all the expected thrills and more. This track is a true return to classic Cradle of Filth, an ode to their mastery.
“Malignant Perfection”
With just three tracks left, “Malignant Perfection” keeps the excellence rolling. Track after track, there’s not a dull moment, and this one takes you back to 2004’s Nymphetamine or even further to 1996’s Dusk and Her Embrace. The keys hold a signature sound while the female vocals cut in, again shining a bit of 1998’s Cruelty and the Beast. Is this song a lesson in Cradle of Filth history, disguised as one epic track?
“Ex Sanguine Draculae”
With a slow, demonic entry, “Ex Sanguine Draculae” crawls in with pain and anguish, delivering a brutal execution. It continues moving in an even heavier, incredibly sinister direction, allowing Dani Filth to unleash more of his signature howls. This album doesn’t give up without a brutal conclusion, leaving listeners craving more.
“When Misery Was A Stranger”
“When Misery Was A Stranger” concludes The Screaming of the Valkyries, offering no happy endings, just torment, and bloody sacrifices under the Cradle of Filth’s nocturnal glow. Giving nocturnal a new meaning, making you want to listen to this track on repeat in the wee hours of the night.
The Screaming of the Valkyries is yet another masterpiece, showcasing what Cradle of Filth have to offer while weaving in elements of their rich history since 1991. Perhaps it’s best not to view Cradle of Filth’s albums as standalone works but as a continuous storyline in their ongoing horror saga. The music invites listeners to interpret it in their own way, and that’s part of what makes it so captivating. It’s fresh, free, and a thrilling dive into the dark adventures of Cradle of Filth.
Cradle of Filth, The Screaming of the Valkyries, is available to order at this location.
