Cradle Of Filth On My Soul
Owner: Bista Kazi
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| Cradle OF Filth | |
|---|---|
| Background information | |
| Origin | Suffolk, England |
| Genres | Extreme metal |
| Years active | 1991–present |
| Labels | Cacophonous, Music for Nations, Fierce, Mayhem, Metal Blade, Abracadaver, Sony, Roadrunner, Peaceville, Nuclear Blast |
| Associated acts | Anathema, Angtoria, The Blood Divine |
Cradle of Filth are an English extreme metal band that formed in Suffolk in 1991. The band's musical style evolved from black metal to a cleaner and more "produced" amalgam of gothic metal, symphonic black metal and other extreme metal styles. Their lyrical themes and imagery are heavily influenced by gothic literature, poetry, mythology and horror films.
The band has broken free from its original niche by courting mainstream publicity (often to the chagrin of its early fanbase), giving the band a "commercial" image. This increased accessibility has brought coverage from the likes of Kerrang! and MTV, along with frequent main stage appearances at major festivals such as Ozzfest, Download and even the mainstream Sziget Festival. They have sometimes been perceived as satanic by casual observers, even though their outright lyrical references to Satanism are few and far between; their use of satanic imagery has arguably always been more for shock value rather than any seriously held beliefs.
History
Early years (1991–1996)
Cradle's relationship with Cacophonous soon soured; the band accusing the label of contractual and financial mismanagement. Acrimonious legal proceedings took up most of 1995,[4] and the band finally signed to Music for Nations in 1996 after only one more contractually obligated Cacophonous recording: the EP V Empire or Dark Faerytales in Phallustein, which, it has since been conceded, was hastily written as a Cacophonous escape-plan.[4] Despite the circumstances of its release however, its handful of tracks are staples of the band's live sets to this day, and "Queen of Winter, Throned" was listed among twenty-five "essential extreme metal anthems" in a 2006 issue of Kerrang! magazine.[5] The EP also marked Sarah Jezebel Deva's debut with the band, replacing Andrea Meyer, Cradle's first female vocalist and self-styled "satanic advisor".[6] Deva appeared on every subsequent Cradle release and tour until 2010's Darkly, Darkly, Venus Aversa, but was never considered a full band member, since she also performed with The Kovenant, Therion and Mortiis, and fronted her own Angtoria project along with Cradle's former bass guitar player, Dave Pybus.
Music for Nations era (1996–2001)
The increasingly theatrical stage shows of the 1997 European tour helped keep Cradle in the public eye, as did a burgeoning line of controversial merchandise; not least the notorious T-shirt depicting a masturbating nun on the front and the slogan "Jesus is a cunt" in large letters on the back. The T-shirt is banned in New Zealand,[8] a handful of fans have faced court appearances and fines for wearing the shirt in public, and some band members themselves attracted a certain amount of hostile attention when they wore similar "I Love Satan" shirts to the Vatican.[9] Alex Mosson, the Lord Provost of Glasgow from 1999 to 2003, called the shirts (and by implication the band) "sick and offensive". The band obviously approved, using the quote on the back cover of the 2005 DVD Peace Through Superior Firepower.
The band released their fourth studio album on the Halloween of 2000. Midian was based around the Clive Barker novel Cabal and its subsequent film adaptation Nightbreed.[13] Like Cruelty and the Beast, Midian featured a guest narrator, this time Doug Bradley, who starred in Nightbreed but remains best known for playing Pinhead in the Hellraiser series. Bradley's line "Oh, no tears please" from the song "Her Ghost in the Fog" is a quote of Pinhead's from the first Hellraiser ("No tears, please. It's a waste of good suffering..."),[14] and Bradley would reappear on later albums Nymphetamine, Thornography and Godspeed on the Devil's Thunder. The video for "Her Ghost in the Fog" received heavy rotation on MTV2 and other metal channels, and the track also found its way onto the soundtrack of the werewolf movie Ginger Snaps (it would also feature, much later, in the video game Brütal Legend).
Sony interlude (2001–2004)
The longest-ever interim period between full-length Cradle albums was nevertheless a busy time for the band. Bitter Suites to Succubi was released on the band's own Abracadaver label, and was a mixture of four new songs, re-recordings of three songs from The Principle of Evil Made Flesh, two instrumental tracks and a cover of The Sisters of Mercy's "No Time to Cry". Stylistically similar to Midian, the album is unique among Cradle albums in featuring exactly the same band members as its predecessor. Further stop-gap releases followed in the form of the "best of" package Lovecraft & Witch Hearts and the live album, Live Bait for the Dead. Finally, the band (principally Dani) also found time to appear in the horror film Cradle of Fear while they negotiated their first major-label signing with Sony Music.Damnation and a Day arrived in 2003; Sony's heavyweight funding underwriting Cradle's undiminished ambition[15] by finally bringing a real orchestra into the studio (the 80-member Budapest Film Orchestra and Choir replacing the increasingly sophisticated synthesizers of previous albums) and thus marking the band's belated gestation—for one album only—into full-blown symphonic metal. Damnation featured the band's most complex compositions to date, outran its predecessors by a good twenty minutes and produced two more popular videos: the Jan Švankmajer-influenced Mannequin and Babalon A.D. (So Glad for the Madness), based on Pier Paolo Pasolini's infamous film Salò. Roughly half the album trod the conceptual territory of John Milton's Paradise Lost—showing the events of the fall of man through the eyes of Lucifer[11]—while the remainder comprised stand-alone tracks such as the Nile tribute "Doberman Pharaoh"[12] and the aforementioned "Babalon A. D."; a reference to Aleister Crowley. "Babalon A. D." was the first DVD-only single to reach the UK's top 40 charts, according to the Guiness Book of Records of British Hit Singles and Albums. Feeling that Sony's enthusiasm quickly palled however, Cradle jumped ship to Roadrunner Records after barely a year.
Move to Roadrunner (2004–2010)
2004's Nymphetamine was the band's first full album since The Principle of Evil Made Flesh to not be based around any sort of overarching concept (although references to the works of H. P. Lovecraft are made more than once). Cradle's bass guitarist Dave Pybus described it as an "eclectic mix between the group's Damnation and Cruelty albums with a renewed vigour for melody, songmanship [sic] and plain fucking weirdness."[17] Nymphetamine debuted at No. 89 on the Billboard Top 200 chart, selling just under 14,000 copies,[18] and the band's growing acceptance by the mainstream was confirmed when the album's title track was nominated for a Grammy award.[19]Thornography was released in October 2006. According to Dani Filth, the title "represents mankind's obsession with sin and self... an addiction to self-punishment or something equally poisonous... a mania."[20] On the subject of the album's musical direction, Filth told Revolver magazine, "I'm not saying it's 'experimental', but we're definitely testing the limits of what we can do... A lot of the songs are really rhythmical—thrashy, almost—but they're all also really catchy."[21] A flurry of pre-release controversy saw Samuel Araya's original cover artwork scrapped and replaced in May 2006, although numerous CD booklets had already been printed with the original image.[16] Thornography received a similar reception to Nymphetamine, garnering generally positive reviews, but raising a few eyebrows with the inclusion of a cover of Heaven 17's "Temptation"[22][23][24] (featuring guest vocals from Dirty Harry), which was released as a digital single and accompanying video shortly before the album. Thornography entered the Billboard chart at No. 66, having sold nearly 13,000 copies.[25]
Long-term drummer Adrian Erlandsson departed the band in November 2006, with the intention of devoting his energies to his two side projects, Needleye and Nemhain. The official press release from Roadrunner saw Erlandsson state "I have enjoyed my time with Cradle but it is now time to move on. I feel I am going out on a high as Thornography is definitely our best album to date".[26] He was replaced by Martin Škaroupka.
Peaceville Records (2010–present)
An EP entitled Evermore Darkly, featuring "new tracks and rarities", was released in October 2011. The package included a DVD with a tour documentary, a live DVD recorded at 2011's Graspop festival and the video for "Lilith Immaculate".
In April 2012, the compilation album Midnight in the Labyrinth was released, featuring orchestral re-recordings of songs from the band's first three albums and the V Empire EP.[39] Dani Filth had described it in the preceding months as "reinventing" the tracks as "full soundtrack quality stuff... with choirs, strings and some narration".[40] This album's version of "Summer Dying Fast" was included on Evermore Darkly as a teaser for the full release (the Evermore track listing subtitles this version "Midnight in the Labyrinth breadcrumb trail"), and "A Gothic Romance (Red Roses for the Devil's Whore)" was released online via Peaceville's website on 4 April. Sarah Jezebel Deva returned to provide female vocals for Midnight in the Labyrinth; her first work with Cradle since her departure in 2008.
In July 2012, the band re-issued its back-catalogue from 1994 to 2002, via The End Records.[41]
Cradle's tenth studio album, The Manticore and Other Horrors, was released on October 29, 2012 in Europe, and on October 30 in North America. Paul Allender told Ultimate Guitar that "The last thing we want to do is come out with another album that sounds like the last two. We decided to change direction and go back to what we used to do with the female vocals; all the strong melody lines and harmonies... I've put a lot of punk-orientated riffs back into it again. It's really gone quite dark and pretty hardcore."
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