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Paradise Lost|Primus|Faith No More|Paramore|HEALTH|Dir En Grey|Mc Ren|Black Light Burns|Shellac|Nickelback|Daft Punk|Nathanael Larochette|My Epic|Earshot|Cradle of Filth|

Band/Artist: Cradle of Filth

Origins: Suffolk, England

Founded: 1991

Members:

Current Members:

Dani Filth – Lead Vocals (1991–present)

Martin “Marthus” Škaroupka – Drums, Keyboards, Orchestrations (2006–present)

Daniel Firth – Bass (2012–present)

Marek “Ashok” Šmerda – Guitars (2014–present)

Donny Burbage – Guitars (2022–present)

Zoe Marie Federoff – Keyboards, Vocals (2022–present)

Previous Members:

Jon Pritchard – Bass (1991-1992)

Darren Garden – Drums (1991-1992)

Paul Ryan – Guitars (1991-1995)

Benjamin Ryan – Keyboards (1991-1995)

Robin Graves – Bass (1992-1994, 1995-2001), Guitars (1992)

Was Sarginson – Drums (1992-1993)

Nicholas Barker – Drums (1993-1999)

Paul Allender – Guitars (1993-1995, 1999-2014)

Jon Kennedy – Bass (1994-1995)

Stuart Anstis – Guitars (1995-1999)

Damien Gregori – Keyboards (1995-1997)

Gian Pyres – Guitars (1996-1999, 1999-2002)

Lecter – Keyboards (1997-1999)

Adrian Erlandsson – Drums (1999-2006)

Dave Kunt – Drums (1999)

Martin Foul – Keyboards, Guitars (2000-2005)

Dave Pybus – Bass (2002-2005, 2005-2012)

James McIlroy – Guitars (2003-2005, 2009-2014)

Charles Hedger – Bass (2005), Guitars (2005-2009)

Ashley “Ellyllon” Jurgemeyer – Keyboards, Vocals (backing) (2009-2010)

Caroline Campbell – Keyboards, Vocals (backing) (2010-2012)

Rich Shaw – Guitars (2014-2022)

Lindsay Schoolcraft – Keyboards, Harp, Spinet, Vocals (additional) (2014-2019)

Anabelle Iratni – Keyboards, Orchestrations, Lyre, Vocals (female) (2019-2022)

Studio albums: 14

Active: Yes

Back when I was in school, Cradle of Filth were hailed as this unbelievably heavy and demonic band. Their image was talked about as much as their heretical dissonance, and for the longest time I only ever listened to what people said, never hearing a note of it myself until many years later. When the time finally came, where I actually got to listen to this infamous band from Suffolk, I wasn’t all that impressed. I found the mixture of goth, symphony and metal to be a little goofy and I couldn’t quite wrap my head around what all the fuss was about. Now, dear readers and denizens of Sputnik, many, many years later and with the release of their fourteenth LP, I’m about to embark on their massive catalogue of albums for the every first, to see if the controversy they garnered when I was a kid was justified. It’s worth pointing out that all of the previous diagnoses I’ve done, I’ve heard at least one of their albums. With this edition, I’ve not heard a single Cradle of Filth album front to back, so this undertaking has taken about a month to get through and reads like a diary at times. Regardless, I hope you enjoy this diagnosis.

 The Principle of Evil Made Flesh (1994)

The Doctor’s rating: 4.5/5

Analysis: I’ll be absolutely frank here; I’ve dabbled in latter day Cradle of Filth songs in the past, but I’ve always been put off by the symphonic aspects of their sound, which always brick-walled my interest in giving them any real attention. However, now that I’m embarking on this massive undertaking from the beginning, listening to The Principle of Evil Made Flesh for the first time, I can honestly say I love what this debut has to offer. The dungeon-synth elements form this gothic oppression, while the black metal portion of their sound is brutal and very well handled. There are some really solid and punishing riffs on the likes of “Crescendo of Passion Bleeding”, “Black Goddess Rises” and “Principle of Evil Made Flesh”, while the ambient tracks “One Final Graven Kiss”, “Iscariot” and “In Secret Love We Drown” do a good job of bringing variety to the album. Couple that with the melodic-focused “To Eve the Art of Witchcraft” and “Of Mist and Midnight Skies” – which combines all of the record’s influences into one song – and the balance overall is excellent. I adore the gothic vibes that permeate the record and on the whole, I can say this is one hell of a debut album.

Prescription: Fantastic aesthetic, heavy riffs, beautiful orchestral elements, and a brilliant pacing for something that is nearing an hour in length. Jam 3-4 times a day for a week, then listen to it as necessary.

Dusk and Her Embrace (1996)

 The Doctor’s rating: 4.7/5

Analysis: Cradle’s sophomore album is another blistering offering, fuelled with ferocious blast beats and quick-time riffage (putting it lightly). “Heaven Torn Asunder” and “Funeral in Carpathia” in particular gleefully perforate your eardrums with a cacophony of sounds so intense, it would have you believing the world is crumbling under the weight of their fury. The distinction between Dusk and Her Embrace and The Principle of Evil Made Flesh is that it feels more like a cohesive peregrination, trading in the shorter tracks in favour of writing with more narrative weight behind it. Melody plays a more prominent role in the songwriting too, making moments in “Funeral in Carpathia”, “A Gothic Romance” and the title track far more impactful: weaving around these reposed, beautiful sections before blowing the skin clean off your bones is elegant and seamless. Overall, though, not to disparage what the debut does so well, Dusk and Her Embrace is a tighter-written experience with bigger crescendos and musicians attacking their instruments as though their lives depended on it. Unbelievable stuff.

Prescription: Dusk and Her Embrace is cut from the same cloth as the debut, but the band have clearly learnt a thing or two since writing that first album, with songs just coming across far more dominating. Jam 3-4 times a day for a week, then listen to it as necessary.

Cruelty and the Beast (1998)

The Doctor’s rating: Original: 3.8 Remaster: 4.4/5

Analysis: There is a lot going for Cruelty and the Beast, most prominently in its concept which centres around the infamous seventeenth century Hungarian countess, Elizebeth Bathory, who was notoriously accused of torturing and killing over 600 victims and bathing in the blood of virgins to preserve her youth. It’s debatable whether she committed such atrocities, but needless to say all this created some heavy vampiric folklore, solidifying her place in the history books as a proto-vampire of sorts. Indeed, the concept of Cruelty and the Beast is fantastic and reading it on paper, I would have banked money on it being my favourite Cradle record. However, I actually think their third album falls a shade short when compared to the previous two. Cruelty and the Beast is still an excellent album mind, retaining all of the hallmarks that made their sound so atmospheric and powerful, but I feel it pulls the reins slightly on their apoplectic disposition in favour of a more melody-centric songwriting style with slower tempos – which is nevertheless a formula that’s well-implemented here, albeit not as exciting to listen to. As a result, it lacks the unbridled power of Dusk and Her Embrace, but doesn’t quite pop in the gothic-drenched department like the debut did. Couple that with the original version of this album, which sounds like it was recorded in a galvanised dustbin and it doesn’t quite compare to the previous two. Judging it on its own merits though, this is an excellent record with great songwriting, a fantastic atmosphere, and a very cool concept. Just be sure to listen to the remastered version which sorts out that godawful drum sound.

Prescription: Cruelty and the Beast doesn’t quite hit as hard as the last two albums, but it is a fantastic record nevertheless, with a great concept and vibe to boot. Jam 3-4 times a day for a week, then listen to it as necessary.

Midian (2000)

The Doctor’s rating: 3.3/5

Analysis: After an era laced with ferocious speeds, bone-crushing riffs, and oppressive-but-beautiful atmospheres, Cradle’s fourth album sets out to shake up a few things, most prominently in its approach, which feels a lot more chipper and playful than previous records. Judging from the hilariously theatrical-looking album cover and tracks being named “Cthulhu Dawn”, I would have taken a stab at this being a Lovecraftian-themed record. With a little research, it turns out Midian is only loosely centred around a concept: using Liverpudlian writer Clive Barker’s novel Cabal (or as the movie adaption is more commonly known, Nightbreed) as the main source of inspiration and the album’s title, which is referenced throughout various religious texts. Suffice to say, it’s an intriguingly solid foundation to work on. Unfortunately for me, musically, Midian is a pretty big departure from what has come before. As I’ve mentioned previously, a lot of the reason I never allotted much time to Cradle of Filth is because I always found their symphonic sound a little too rich for my tastes. Midian is the first to display this quality in any substantial amount. Sure, the record has plenty of heavy riffs, Iron Maiden-esque dual guitar harmonies and a slew of gothic-drenched electronics for you to enjoy, but overall, Midian’s clean production and focus on creating a theatre of capacious arrangements doused in sugary melodies over the previously chaotic and sinister style is something that will turn a few head. As I just mentioned with the dual guitar work, which has always been an eminent part of their sound, the band triples down on that classic Maiden-esque harmonisation here with grand solos and a slew of corny operatic influences that, for better or worse, give Midian its own personality. The funny thing is, I found myself appreciating and enjoying the themes here more than the music. For instance, Doug Bradley (Hellraiser’s Pinhead) as the narrator creates a genuinely impressive Barker aesthetic that helped make the music feel like it was being played in a dark, sandy tempest in the far-reaches of the world. With the exception of “Death Magick for Adepts”, “Her Ghost in the Fog”, “Tearing the Veil From Grace” and “Lord Abortion” I found the rest of the music to be either awkwardly put together or just a little weak overall. Coupled with the fact this behemoth is nearly an hour long and the pacing makes Midian quite a laborious undertaking.        

Prescription: Some cool ideas at the heart of Midian, but overall, the songwriting takes a massive hit. Jam 1-2 times a day for a week, then listen to it as necessary.

Damnation and a Day (2003)

 The Doctor’s rating: 3.6/5

Analysis: Preserving the imprint Midian left on Cradle’s sound, Damnation and a Day is even more melodic and calmer in temperament than their previous albums, stretching its limbs out on tracks like “Hurt and Virtue” and “Serpent Tongue” which oddly appropriates elements from the popular metalcore sound found in the zeitgeist at the time. While this era has, thus far, paled in comparison to their gothic black metal roots, I actually enjoyed this a lot more than Midian, simply because there’s a lot more going on in it. The variation of sounds, as well as the focus on ear-grabbing grooves instead of full-throttle blast beats is a nice change of pace for the band this far into their career. The problem with Damnation and a Day is that it doesn’t know when to read the room and go home, clocking in at a whopping 76 minutes. That being said, minus the poor pacing and lack of editing, I think this is a pretty solid offering from the band.

Prescription: Damnation and a Day, like Midian, is a departure from their revered beginnings, but there’s a lot of cool stuff going on here sonically. It’s just a shame they couldn’t find an editor to make this record a little leaner and more impactful. Jam 2 times a day for a week, then listen to it as necessary.

Nymphetamine (2004)

The Doctor’s rating: 3.6/5

Analysis: One could argue the last couple of albums have been a little off aim and lacking in the gravitas of the classic 90’s records, and for my money you’d be right. Nymphetamine doesn’t course-correct and is more of the same, however, the execution is slightly shrewder and more balanced in terms of its overarching style. Ironically Nymphetamine contains, arguably, their biggest and most commercially successful single to date in the form of “Nymphetamine Fix”, a song I hated back then and still receive a lick of cringe from its juxtaposition of sounds even today. It’s the equivalent to spreading marmite on your toast and then sprinkling sugar all over it: a weird concoction of bittersweetness that doesn’t assimilate well with my own palate. Thankfully, the bulk of Nymphetamine’s sound isn’t going to this extreme and actually brings a few great moments to the fore, like “Gilded Cunt”, “Nemesis”, “Gabrielle”, “Filthy Little Secret” and “Swansong for a Raven”, but I’d be lying if I said this was a return to form. While the songwriting feels more confidently streamlined in what it’s doing, this is a refinement on what the last two albums have produced. As such, the production is nice and crisp, the dual guitars are reciting some textbook Dave Murray-Adrian Smith playing, and bombastic, theatrical soundscapes are the central focus here. And look, this brew is brought together excellently and I enjoyed most of it front to back, but to me it’s a far cry from the sinister, lo-fi abrasion the first 3 – particularly the first two – albums went for. Nevertheless, for what Nymphetamine sets out to achieve, this is a great album, albeit wrought by the same flaws as the last two, particularly Damnation and a Day’s run time, which also bogs this record down, though not to the same degree.

Prescription: Cradle’s sixth album is a mature refinement of their last two albums. Slightly stronger songs that mix their heavy sound with more polish and melody. Jam 2 times a day for a week, then listen to it as necessary.

Thornography (2006)

The Doctor’s rating: 3.8/5

Analysis: I can only imagine the reaction Thronography got upon its release. As a humble music doctor and observer walking through their discography for the first time, this looks to be – like Midian did for the band’s next two records – another liminal space for the band to experiment with new ideas. Of course, it’s no surprise to see Cradle grabbing a sound palette with more mainstream appeal, given the amount of acclaim they received with “Nymphetamine Fix”. As such, Thronography is thus far their most experimental and easy-listening album: stripping back their black metal persuasion to a nub and embracing the warm bosom of thrash, metalcore, death metal, punk, and a gothic hue similar to that of Paradise Lost’s. In fact, Paradise Lost was a recurring thought throughout, just because of the way they approach the songwriting. The band have gradually slowed their tempos down over the years, but the songs here are lethargic in comparison to anything before Thronography. The guitars focus on big melodic passages, while the capacious drum work puts emphasis on what the guitars are doing. The approach is all very Paradise Lost, and honestly, I’m not too sure how I feel about it. Thronography feels like it was written with no parameters in mind; it’s a melting pot of fresh and accessible ideas, with Dani trying out a load of new vocal styles, mainly clean-cut singing on the likes of “Foetus of a New Day Kicking”, “Tonight in Flames” and “The Byronic Man”, and off-the-cuff ideas thrown in there like “I Am the Thorn”’s vocal effect, which reminded me of something off Mogwai. Frankly, Thronography is unfettered madness that, to its credit, at least draws some cohesion from its disparate aspirations. Given its fast pace, since tracks average 5 minutes, and its successful attempts at aping a sound as distinct as Paradise Lost’s, I actually enjoyed this a lot. As a Cradle of Filth album though? I feel like the baby has been thrown out with the bath water, with Thronography losing that idiosyncrasy even their weakest albums had. Putting it bluntly, if I was a fan at the time, I can imagine I’d have hated what they were doing here.

Prescription: As a big fan of Paradise Lost and a casual listener of Cradle, this resonates with me a lot, but it’s for the wrong reasons. Thronography strips the band of their signature sound in favour of something more easy-going. It works, but at what cost? Jam 2 times a day for a week, then listen to it as necessary.  

Godspeed on the Devil’s Thunder (2008)

 The Doctor’s rating: 2.8/5

Analysis: After the concoction of sounds Thronography brought to the table, I have to admit, I was curious to see where the band would go after such a departure from their revered style. Similar to how the Midian-Nymphetamine era went, I was expecting Godspeed on the Devil’s Thunder to be a refinement on what Thronography had set up: tighten up a few areas and deliver a punchier, more streamlined version of that album. However, Godspeed on the Devil’s Thunder is surprisingly safe and slots right back in with the rest of the band’s discography – making 2006’s experimental wonder a black sheep or blemish in their catalogue. Indeed, Godspeed on the Devil’s Thunder resides more in the death metal camp and deviates little for the duration, bar the quintessential CoF symphonic elements, which make a return after their absence last time. There’s not much to say about Godspeed on the Devil’s Thunder other than it’s a solid record that feels somewhat apologetic in its approach, just because of how focused it is in one style. The problem is that while this is solid stuff, its myopic objective to serve the fans a more traditional album makes the songwriting pretty anodyne and forgettable. Say what you want about Thronography, but it’ll be remembered as that album, whereas this is so inconsequential it’s easy to forget it even exists, considering the size of Cradle’s discography.

Prescription: A decent-ish album that ticks a box. Jam 1-2 times a day for a week, then listen to it as necessary.

Darkly, Darkly, Venus Aversa (2010) 

The Doctor’s rating: 2.5/5

Analysis: I get the impression the blowback from Thronography had such a profound effect on the band’s writing during this era, they were in a creatively catatonic state that had them terrified to even slip a toe outside of this bland comfort zone they found themselves in. If someone told me Darkly, Darkly, Venus Aversa came from the same studio sessions as Godspeed on the Devil’s Thunder, I wouldn’t be surprised in the slightest. Darkly, Darkly, Venus Aversa is just more of the same, and I’ll be honest, I zoned out through most of it. The definition of innocuous writing and easily their worst record hitherto.

Prescription: Safe, dishwater songwriting that is very stale at this point. Jam once, then listen to it as necessary.

The Manticore and Other Horrors (2012) 

The Doctor’s rating: 3.5/5

Analysis: After a couple of painfully bland records that saw a band in the midst of an identity crisis and in fear of experimenting in ways they were always known for prior to Thronography, The Manticore and Other Horrors sets itself on the right track. At this point, the band seem incapable of producing an album to the same pedigree as their 90’s albums, but The Manticore and Other Horrors at least sounds and feels invigorated. Dani Filth really pushes his vocal abilities in all the right ways and brings a nice variety to the tracks, while the music itself veers away from that stale death metal sound they’ve been running with for the last couple albums, reintroducing some of their older elements again. The production in particular elevates the music on offer, but the synth passages, great guitar work and breakneck drums make this album a return to what they do best. One of the core criticisms I have with the previous two albums is that they lack a tangible atmosphere like their previous albums were renowned for. The Manticore and Other Horrors brings some of that gothic vibe back to the forefront, and overall, it’s a solid album that does everything it needs to.

Prescription: A solid return for Cradle that has them finding their mojo again. Still galaxies away from their peak, but it’s an album that acknowledges where the band’s strengths are. Jam 2 times a day for a week, then listen to it as necessary.

Hammer of the Witches (2015)

 The Doctor’s rating: 4.2/5

Analysis: I can’t say I saw this one coming. After only just saying I couldn’t see Cradle of Filth recapturing the magic from their 90s offerings, Hammer of the Witches enters the arena and offers the most consistent and exciting sound since Cruelty and the Beast. It feels as though Dani and co. went back to the drawing board and genuinely analysed and dissected what made their earlier work so powerful. As such, while The Manticore and Other Horrors feels like a band starting to remember who they are, Hammer of the Witches completely understands the script and synthesises a sound that’s forward-thinking but has a high fidelity for the band’s roots. For the first time since Nymphetamine, Hammer of the Witches puts a real emphasis on the keyboards again – an element almost forgotten about for nearly a decade. Unsurprisingly, the fabled return of this instrument brings us the closest we’ve ever come to that classic CoF sound. What makes this such a great album though is it finally conjoins their gothic beginnings with the riff-heavy aspirations of anything post Cruelty and the Beast, and goddamn do they get the formula right. The riffs are melodious, brutal and satisfying, the synths and electronics are a breath of fresh air and add loads of dynamics and intricacies to the songwriting, and the drum work throughout is a barnstorming standout. Dani Filth’s vocals feel fully realised, and overall, it’s hard to really fault anything it does.

Prescription: A trailblazing return to form that finally manages to tap into those lofty aspirations they had at the turn of the millennium. Jam 2-3 times a day for a week, then listen to it as necessary.

Cryptoriana – The Seductiveness of Decay (2017)

The Doctor’s rating: 3.8/5

Analysis: Similar to Godspeed on the Devil’s Thunder and Darkly, Darkly, Venus Aversa in that they feel like sonic siblings, Hammer of the Witches and Cryptoriana are cut from the same cloth – the distinction here is that while Cryptoriana feels like Hammer of the Witches 2.0, it’s not the blunder Darkly, Darkly, Venus Aversa was. While it doesn’t hit quite as hard, all of Hammer of the Witches’ amazing qualities translate well here: great production, fantastic musicianship, and an unrelenting sound that pummels you for just over an hour. You’ll revel in the sinister galloping of “Death and the Maiden”, the vintage metal riffage on “Alison Hell”, and the countless, explosive solos that permeate the album. And, unlike a lot of Cradle records, this thing has a pace as slick as oil, coming to its closing seconds before you know it.

Prescription: A bloody great follow up to Cradle’s grand return to form. If you liked what Hammer of the Witches offered, you’ll be enjoying more of the same here without it feeling phoned in. Jam 2-3 times a day for a week, then listen to it as necessary.

Existence Is Futile (2021) 

The Doctor’s rating: 3.8/5

Analysis: Like the previous two records, Cradle of Filth have got the formula perfectly synthesised and offer another excellent offering. There’s not a great deal to say about Existence Is Futile that hasn’t already been said about the previous two albums. Similar to Cryptoriana, the impact isn’t quite as sharp as their 2015 return, but their songwriting chops are so immaculate and efficient it’s rather shocking to see them functioning at this level when you consider the length of time they’ve gone fumbling in the dark. The symphonic elements in particular really pop out on the songs and make the crescendos feel that little bit more impactful, and Anabelle’s vocal contributions really make the songs feel like an epic event unfolding.

Prescription: Existence Is Futile continues their steadfast run of excellent albums. It’s more of the same, but it’s so well executed it feels fresh enough to stand on its own merits. Jam 2-3 times a day for a week, then listen to it as necessary.

The Screaming of the Valkyries (2025) 

The Doctor’s rating: 4/5

Analysis: The Screaming of the Valkyries is yet another superlative chapter in the band’s decade-long triumph. For the last ten years now, Cradle have been producing albums at a respectably high level. While the last three albums haven’t changed this winning formula in any significant way, there’s just enough variation in each approach to make it distinctly unique. However, I feel The Screaming of the Valkyries is a refinement on the last two albums, offering slightly sharper songwriting with catchier hooks, punchier groovier, and more memorable guitar work and solos. At this point, Cradle of Filth have absolutely locked down their sound and are producing the most consistent work of their career. It might not have the raw, imperfectness their first three albums have, but there’s a pragmatism and maturity in the way they craft music now that cannot be understated.   

Prescription: A slightly tighter experience compared to the last two, but honestly, you can’t go wrong with any of their work from 2015 onwards. Jam 2-3 times a day for a week, then listen to it as necessary.

Supplements:

Vempire and From the Cradle to Enslave are two EPs you shouldn’t overlook if you’re searching for more of that glorious lo-fi fury from the days of yore. Tracks “Nocturnal Supremacy”, “The Rape and Ruin of Angels”, “From the Cradle to Enslave” and “Of Dark Blood and Fucking” mean business!

Doctor’s Notes:

Strengths:

• Their early records had moments so powerful and brutal I had to shovel my jaw off the desk at times.
• A surprisingly experimental band that has implemented a lot of styles into their sound, for better or worse.
• The atmosphere in most of their albums is second to none.
• The last decade of music being produced is a thing to behold, given the age of this band.

Weaknesses: 

• The middle section of their career isn’t bad, it’s just painfully bland.

Diagnosis: What a trip that was. For the longest time now, I’ve obstinately avoided listening to Cradle of Filth, simply because the songs I was exposed to mostly came from their contentious mid-00s-early-10s era. When I started this examination and put on The Principle of Evil Made Flesh, I immediately understood why this band was turning heads back then. Those first 3 albums are bonafied gothic black metal classics, genuinely brutal and atmospheric bodies of work that made anything after Cruelty and the Beast a nightmare to top. In a lot of ways Cradle goes through a similar journey Paradise Lost went through, with that middling period that saw experimentation and a loss of identity in equal measure. However, the fruits from this kind of volatile career are enjoyed once the band figure out how to conjoin all of their aspirations into one complete sound, and, oh boy, did Cradle of Filth figure it out in the end. While the band haven’t been able to top their first three albums, they’ve managed to make albums at a consistently high standard since Hammer of the Witch. I’m glad I did this analysis as I got to see the side people were talking about when I was a kid, but even without their bone crushing ferocity, this legendary band were (mostly) never afraid to mix things up, and it’s from that which has created their steadfast era.