Cradle of Filth: Album Review and Interview

With their 14th full-length album, “Screaming of the Valkyries”, Cradle of Filth proves that they can still slay even after all these years.

CoF Band Photo (Photo credit: Jakub Alexandrowicz; photo courtesy of CoF)

I’ve said it before, and it bears repeating: every now and again, as the music editor for Morbidly Beautiful, I get the chance to hear upcoming music before it launches to the masses. In addition, on very special occasions, I even get to interview and/or interact with some truly iconic personages in the music industry. It is a privilege that I don’t take lightly. So, when I was offered the chance to interview members of extreme metal band Cradle of Filth, as well as preview their latest album, there was only one response I could give.

Oh, hell yes!

But, for those not in the know, what/who exactly is Cradle of Filth? Well, the answer to that question starts with the band’s iconic frontman, Dani Filth. You could call Dani, the band’s only consistent member, many things—pioneer, forefather, award nominee, instigator, heretic—and many more monikers besides. But, after over 30 years of making uncompromisingly heavy metal music, one thing you cannot call him is complacent.

While it’s pretty easy to identify a CoF song once the vocals kick in, their actual sound is constantly evolving from album to album, refusing to rely on any one gimmick or approach.

It’s one of CoF’s greatest legacies: since all the way back in 1991, Dani has been pushing the boundaries of what heavy metal music can (and should) be, with CoF courting many sub-genres to great success, from gothic metal to black metal, death metal and symphonic metal, and everything in between.

The band itself, however, refers to their output as extreme metal, which couldn’t be a more fitting description.

Dani Filth (Photo credit: Jakub Alexandrowicz; photo courtesy of CoF)

Featuring power chord-heavy riffs, stomping double bass drums, sinister synthesizers, and Dani’s patent guttural growls and piercing shrieks, CoF is anything but subtle. Couple that with their gothic & horror imagery (some quite shocking) and dark lyrics, the faint of heart need not apply.

Clocking in at 56 minutes across 9 songs, “The Screaming of the Valkyries” does feel a little more focused than some of CoF’s previous efforts, where there could be upwards of 15 tracks to burn through. This gives “TSotV” a strong sense of coherence, even without an overarching theme to the lyrics.

But make no mistake; just because the album is streamlined doesn’t mean it loses any of its potency.

Instead of buckshot, covering a wide spread, “The Screaming of the Valkyries” is a single well-place bullet, flying straight through the heart of heavy metal.

I would also say that “The Screaming of the Valkyries” is a good place to start for those not yet initiated in the CoF faithful. The shortened track listing, consistent vision, and breadth of styles and flourishes help the album to be a little more accessible than some of their back catalogue.

That said, Cradle of Filth has never been (and never will be) everyone’s dram of absinthe. For this reviewer, however, heavy metal has always been a haven, and this new album slots into the existing playlist of my life with ease.

Needless to say, I’ve put “The Screaming of the Valkyries”  through its paces; in the car, on my headphones, and through a pretty solid home stereo system. Production values are high, as one would expect, with every instrument and lyric clearly audible.

It’s a masterpiece from start to finish, but like any album, there are some songs that work better than others.

Standout Tracks:

To Live Deliciously: Gotta love a track with a title that’s a spot-on homage to Robert Eggers’ The VVitch! To Live Deliciously storms out of the gate at full throttle, evoking headbanging icons like Slayer and Testament. There really isn’t a better track to kick off an hour’s worth of extreme metal shenanigans, and it truly sets the stage for what is to follow. Crank up the sound, and let Dani’s vocals and the unyielding musicianship crush you like an audio avalanche.

Demagoguery: Unrelenting and unrepentant, Demagoguery is an absolute barnstormer (after the gothic-tinged harpsichord intro, that is), with Dani’s vocal gymnastics undulating over a murderous riff that evokes thrash legends of old. A whispered rhyme in the middle of the track slows things down for a moment, followed by a truly old-school (albeit rocking) solo. This one ties with White Hellebore as my favorite song on the album.

White Hellebore: One of the first singles to drop for “The Screaming of the Valkyries”, White Hellebore reminds me of CoF’s early aughts gothic-infused offerings, vacillating between male & female vocals, coupled with a more doom-laden sound. There’s a good reason this was released in advance of the album; it’s peak CoF, encapsulating everything that the band stands for. But just because it has gothic overtones doesn’t mean the song is a pushover – the searing tempo and blistering drums are enough to rattle teeth loose.

You Are My Nautilus: Hewing more towards a (at times) symphonic metal sound, You Are My Nautilus is the only time where the album lets off the gas for extended periods of time. I’m not going to say it’s Cradle of Filth by way of Ghost, but considering there’s a more theatrical sound at play, I’m not going to NOT say it either. It’s a bit of a different sound, although still distinctly CoF.

When Misery Was A Stranger: Epic and all-encompassing, When Misery Was A Stranger is basically a Cradle of Filth cornucopia. Want the interplay between male & female vocals? You got it? Craving an extended guitar solo? That’s here too. Hooks, breakdowns, and quiet interludes? All of the above. It’s a good track to finish the album.

Where so many LPs tend to fade out, “The Screaming of the Valkyries” goes out with a bang instead of a whimper.

INTERVIEW WITH MAREK “ASHOK” SMERDA

On top of getting to review the album prior to release, Morbidly Beautiful also had the opportunity to interview Cradle of Filth guitarist Marek “Ashok” Šmerda, who’s been with the band since 2014. We cover a lot of ground across ten interview questions, so be sure to check them out below!

MB: New album “The Screaming of the Valkyries” is set to drop in a matter of days, marking CoF’s 14th LP release (no small feat!). Some prior albums have centered around an overarching theme, from Milton’s “Paradise Lost” to Countess Bathory, bringing a greater sense of cohesion to the output. What do the themes of “TSofV” mean to you, as the musicians bringing them to life?

Ashok: I believe Dani has described this album as a commentary on the current state of the world. As musicians, we are here to offer an escape from the world but also a lens through which to view the chaos in an artistic manner.

MB: Crade of Filth has been active for over thirty years, and there have been some pretty drastic changes in the music business across those three decades. Whether during your time with the band or within the scene in general, how has your relationship with music as a business evolved, especially with the advent of YouTube, music streaming services, and a paradigm shift towards single releases instead of full-fledged albums? What is better now? What is worse?

Ashok: The internet and the modern business formats are able to reach fans in new and exciting ways. On the other hand, there is definitely less tangible revenue now for artists.

MB: In addition, with CoF being such a fixture within the metal community, what was it like becoming part of something so well-known? Is there a lot of pressure to live up to “what came before,” or are you allowed to just “be you”?

Ashok: I felt both the pressure to keep the legacy aflame, but also from the first day, I wanted to grow and develop my own approach to this music. Myself and the band had to grow together. I think I’ve brought my own artistic expression to the music, but I’ve also learned to serve the legacy of the band in ways that honor the eras that came before me.

MB: Building off the preceding question, previous interviews have stated that CoF’s creative process is very democratic, with everyone’s contributions given weight and merit. Was that the case with “The Screaming of the Valkyries”? What is the creative process like for the band?

Ashok: Absolutely, we all get a chance to contribute. I really enjoyed the writing process for this album more than ever, actually. There was such a friendly atmosphere between me and my co-writers. We even did long 12-hour Zoom writing sessions, spending all day in a virtual room creating together.

MB: CoF is embarking on what looks to be a pretty extensive tour starting in April, with roughly forty stops in both North America and Europe across three months. How does the band prepare for such an undertaking? Do you feel that the interaction of the audience changes from location to location and country to country, or is it, by and large, one big happy metal family?

Ashok: We decide on a setlist together and spend months working on the songs individually. After rehearsals, we still have some kinks to work out, and the first few shows are always a little more nerve-wracking. But then we fall into our groove, relax, and it all becomes second nature.

Different cultures produce different audiences. For example, Latin-American fans are quite verbal and expressive when it comes to their love for this music. There is certainly the same love coming from other audiences, but it might be expressed in different ways.

MB: For the tour, what is the setlist looking like? Will there be a strong focus on the new material, or will there be a balance between old and new? What song are you likely to close out the night with?

Ashok: It’s always a mix of old and new, but with a focus on the newer material right now, as this new album will be quite fresh. Long-time Cradle fans will know there’s only one or two songs we generally close out the night with. 😉

MB: Metal is such a broad range of music, and it seems like there are more sub-genres popping up every week. CoF definitely keeps in line with the “extreme metal” tag, but I’m sure there are other genres out there that you enjoy, whether listening for pleasure or providing inspiration. What are some of your favorite bands/artists, both within metal and beyond?

Ashok: I listen to so much besides extreme metal, for example, Whitesnake, Judas Priest, Deep Purple, Led Zeppelin, and also movie soundtracks and soundscape artists.

MB: Building upon the previous question, how does music impact you in your personal lives? For example, I’m still a fan of physical media, purchasing a record (when offered) at every concert I attend, or the limited-edition colored vinyls when I can’t make a tour. Outside of CoF, do you go to concerts, peruse record stores, catch up on the latest videos/releases on streaming?

Ashok: I love record stores and spend a lot of my free time on tour checking out the local ones. I love the feel of vinyls and often run out of room in my luggage for my new acquisitions. I attend concerts when I can, but quite often we’re on tour and we miss artists we would love to see.

MB: Our site, Morbidly Beautiful, is largely catered to a horror audience, and metal and horror have been intrinsically linked for decades. Which aspects of horror appeal to you (regardless of the media: movies, music, fashion, books, etc.), whether in your private life or your approach to music and stage presence?

Ashok: My stage persona is actually Pinhead from Hellraiser.

Doug Bradley has, of course, collaborated with Cradle of Filth on numerous occasions, so it seemed natural to bring his character to life on stage.

In my personal life, I enjoy other horror franchises, including SAW and Silent Hill.

MB: What are you hoping the takeaway is for “The Screaming of the Valkyries”? Do you think this release will appeal more to fans of the older CoF sound or the more recent releases? Regardless of any singles or promos, what is the song that you feel best encapsulates the record as a whole?

Ashok: I think we have something for the older fans and the newer ones, and maybe even those on the fence who haven’t been ready to dive into our catalogue yet. If I had to name one track that sums up this record, for me it would be When Misery Was A Stranger. I feel like it has everything: the lyrics, the atmosphere, the overall theme of despair and hope. But I think every song on this album has its own special story to tell.