Cradle Of Filth
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The Principle of Evil Made Flesh , 6/10
Dusk and Her Embrace , 6.5/10
Cruelty and the Beast , 5.5/10
Midian , 5/10
Bitter Suites to Succubi , 4/10
Damnation And A Day , 5.5/10
Nymphetamine (2004), 4.5/10
Thornography (2006), 4/10
Godspeed On The Devil's Thunder (2008), 5/10
Darkly Darkly Venus Aversa (2011), 5/10
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Formed in 1991 in England, Cradle Of Filth spent two years producing demos, such as Invoking the Unclean (1992), Orgiastic Pleasures (1992) and Total Fucking Darkness (1993). By the time they released their debut album, The Principle of Evil Made Flesh (Cacophonous, 1994), the line-up had mutated into a sextet: Daniel Davey (vocals), Paul Ryan (guitar), Robin Eaglestone (bass), Paul Allender (guitar), Benjamin Ryan (keyboards) and Nicholas Barker (drums). The album immediately established them at the top of the black-metal pyramid.

With a new keyboardist and singer-guitarist Stuart Anstis, the band released the six-song mini-album Vampire or Dark Faerytales in Phallestein (Cacophonous, 1996), mainly for contractual obligations, and finally their masterpiece, Dusk and Her Embrace (Music For Nations, 1997). By fusing heavy metal and progressive-rock, Cradle Of Filth achieved a kind of epic gothic that recalls more King Crimson than Venom (the instrumental The Graveyard By Moonlight).

After more internal turmoil, the band released Cruelty and the Beast (Myahem, 1998) and their first single ever, From the Cradle to Enslave (1999).

The band's skills at arrangement and pomp get out of control on Midian (Koch, 2000), that nonetheless represents a significant change of sounds, and Bitter Suites to Succubi (Koch, 2001), that returns to their classic sound with little or no inspiration.

Lovecraft and Witch Hearts (Music for Nations, 2002) is a double-CD anthology.

Vocalist and guitarist Stuart Anstis started the ambient project Aphelion I-IV (Iris Light, 2001)

Cradle Of Filth's Damnation And A Day (Sony, 2003) marks a return to the heavy sound of their origins, although in a lighter, poppier version.

Tradotto da Alessandro Bracaloni)

Formatisi nel 1991 in Inghilterra, I Cradle Of Filth trascorrono due anni producendo demo, tra i quali ricordiamo Invoking the Unclean (1992),Orgiastic Pleasures (1992) e Total Fucking Darkness (1993). Al momento dell'uscita del loro album di debutto, The Principle of Evil Made Flesh (Cacophonous, 1994), la formazione è divenuta un sestetto: Daniel Davey (vocals), Paul Ryan (guitar), Robin Eaglestone (bass), Paul Allender (guitar), Benjamin Ryan (keyboards) e Nicholas Barker (drums). L'uscita dell'album li pone immediatamente alla sommita` della piramide del black metal.

Aggiunto un nuovo tastierista e chitarrista-cantante Stuart Anstis la band, principalmente per assolvere a residui obblighi contrattuali, produce un mini-album di sei brani intitolato Vampire or Dark Faerytales in Phallustein (Cacophonous, 1996), e finalmente il suo capolavoro Dusk and Her Embrace (Music For Nations, 1997). Fondendo Heavy Metal e Progressive-Rock, i Cradle Of Filth creano sonorit… Epico Gotiche che riportano alla mente pi— i King Crimson che i Venom.

Dopo ulteriori problemi interni, la band rilascia Cruelty and the Beast (Myahem, 1998) ed il loro primo singolo assoluto, From the Cradle to Enslave (1999).

L'abilit… negli arrangiamenti e nelle orchestrazioni sfugge di mano alla band in Midian (Koch, 2000) ed in Bitter Suites to Succubi (Koch, 2001).

Lovecraft and Witch Hearts (Music for Nations, 2002) e` una raccolta in due CD.

Il chitarrista cantante Stuart Anstis avvia il progetto ambient Aphelion I-IV (Iris Light, 2001)

Il loro album Damnation And A Day (Sony, 2003) segna il ritorno al sound aggressivo delle loro origini, anche se in una veste piu1 pop e leggera.

Nymphetamine (Roadrunner, 2004) and Thornography (2006) stuck to what they did best, forgetting the "pop" element and the pomp, but with as little imagination as possible.

If their ambition was rarely justified by the quality of the music, there is no doubt that they represented the "literate" side of black-metal (except that black-metal fans rarely acknowledged their membership in the genre). That ambition eventually led them to Godspeed On The Devil's Thunder (2008), a concept about a serial killer, and to the double-disc Darkly Darkly Venus Aversa (Nuclear Blast, 2011), a black-metal opera that strikes mostly for the amount of music that simply recycles Cradle of Filth cliches and for the number of songs that could have been omitted.

(Translation by/ Tradotto da xxx)

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