A name that no longer needs presentations, Cradle of Filth has left its mark on the international metal scene for nearly thirty years. Established in Suffolk, UK, in 1991, the band set off on a continuous musical exploration, from the virulent black metal that marked the early materials, to the exploration of different areas that it successfully combined. Areas such as gothic or symphonic metal, which were mixed with influences of other subgenres belonging to the metal family. On a lyrical and aesthetic level, Cradle of Filth has become accustomed to its fans with themes strongly influenced by gothic literature, symbolism from mythology or horror films.
The creative fever, materialized in 12 albums (the latest, “Cryptoriana – The Seductiveness Of Decay” released in 2017) and one scheduled to appear in 2020, has brought Cradle of Filth members numerous appearances in some of the most respected specialist publications at international level, like Kerrang! or MTV, as well as the opportunity to take on the stage of numerous international festivals, dedicated to rock genres and beyond – such as Ozzfest, Download Festival or the popular Sziget Festival.
The debut, “The Principle of Evil Made Flesh” (1994), bears a very different footprint than the one for which CoF will become known but nonetheless has been included in the “Top 10 Metal Albums of the Last Twenty Years ”, made by Metal Hammer. The following materials that saw the light of day brought the band closer to international recognition, despite the difficulties with record companies or the fluctuation of the band’s composition, such as “Dusk … and Her Embrace: The Original Sin” (1996) or The EP “V Empire or Dark Faerytales in Phallustein” (1996), whose “Queen of Winter, Throned” came to be included in the list of twenty essential metal extreme hymns, ranking by Kerrang magazine in 2006.
From the very beginning, as the band members testify, Cradle of Filth has assumed the role of oracle of dark metal, whose mission is to explore the amorphous horrors that move in the shadow of humanity, revealing the opulence and enormous potential held by the capital sins of mankind, throughout the centuries of civilization, enriched by the pale romance of which humanity is capable and by the sensual shades of grotesque.
The latest album, “Cryptoriana – The Seductiveness Of Decay”, is the embodiment of the period of creative rebirth through which Cradle of Filth members pass, a period that brought them to the heights of elegant anger, complex compositions and mysterious lyrics with which they have always captivated their audience. , all gathered together, according to the members’ statements, in “the greatest studio effort they have made so far”. As Dani Filth, the vocalist of the band, says, “the album represents a step forward in a creative aspect, which capitalizes on the success of the musical approach found in” Hammer Of The Witches “, but which probes with even more courage the virulence of sound depths, to achieve something truly unique, but loyal to our previous musical incarnations. “
From the captivating melodramatic atmosphere of the first two tracks “Exquisite Torments Await” and “Heartbreak And Seance”, the 12th Cradle of Filth album brought the band’s sound manifesto throughout nine anti-anthems. complex. As Dani Filth confesses: “the album is saturated, at the lyrical and melodic level, by the gothic horrors of the Victorian Era, the title fully reflecting this. «Cryptoriana» refers to the crazy passion or obsession with the supernatural encountered at that time, towards the graves and the passion for the macabre. The completion of the title, “The Seductiveness Of Decay,” underlines this attraction to death and the process of self-annihilation. “And the following material promises to carry this probe of humanity’s darkness and horror even further.