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Cradle of Filth is a heavy metal band formed in Suffolk, England in 1991. It has been embraced and disowned with equal fervour by various metal communities, and its particular subgenre has provoked a great deal of discussion (see below). Roughly speaking, the band's sound has gradually evolved from raw, traditional black metal, to a cleaner and more "produced" symphonic style, while its lyrical themes and imagery are heavily influenced by gothic literature, classical mythology and horror films. The band has successfully broken free of its original niche by courting mainstream publicity (often to the chagrin of its early fanbase), and this increased accessibility has brought coverage by the likes of Kerrang! and MTV, frequent main stage appearances at major festivals such as Ozzfest and Download, and in turn a more commercial image.

Early Years

Cradle's first three years saw four demos recorded amidst the sort of rapid line-up fluctuations that have continued ever since (Cradle has generally had around half a dozen members at any one time, but can boast more than twenty musicians in its history). The band eventually signed to Cacophonous Records and its debut album, The Principle of Evil Made Flesh, was also Cacophonous's first release in 1994. A step-up in production terms from the rehearsal quality of most of their demos, the album was still nevertheless a sparse and embryonic version of what was to come, with Dani Filth's vocals in particular bearing little similarity to the style he was later to develop. The album was well-received however, and as recently as June 2006 found its way into Metal Hammer's list of the top ten British black metal albums of the last twenty years.

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, 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. Despite the circumstances of its release however, V Empire, as with Principle, was enthusiastically received by Cradle's growing fan base. It may only have been "a ritual comprised of six parts and having a duration of forty minutes" (as the back cover attests), but its handful of tracks are staples of the band's live sets to this day.

The Music for Nations Era

Dusk...and Her Embrace followed the same year: a critically acclaimed breakthrough album that greatly expanded the band's fan-base throughout Europe and the rest of the world. A concept album of sorts based generally on vampirism and specifically (though loosely) on the writing of Sheridan Le Fanu, Cradle's inaugural album for Music for Nations set the tone for what was to follow. The album's production values matched the band's ambition for the first time, whilst Dani's vocal gymnastics were at their most extreme. Global sales were impressive, and many fans still believe this to represent the band's creative peak.

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" on the back. 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 the shirts to the Vatican. Alex Mosson, the Lord Provost of Glasgow from 1999-2003, called the shirt (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. Cradle's star continued to ascend in 1998, as the band appeared in the BBC documentary series Living With the Enemy (on tour with a fan and his disapproving mother and sister) and released its third full-length album Cruelty and the Beast. A fully-realised concept album based on the legend of the "Blood Countess" Elizabeth Bathory, the album received rapturous reviews for its writing and musicianship and boasted the casting coup of Ingrid Pitt providing guest narration as the Countess: a role she first played in Hammer's 1971 film Countess Dracula. The self-produced album was criticised for its sound quality, however, and sales were initially disappointing.

The following year the band continued primarily to tour, but did release its first video, PanDaemonAeon, and an accompanying EP, From the Cradle to Enslave, featuring the music from the production. Replete with graphic nudity and gore, the video was directed by Alex Chandon, who would go on to produce further Cradle promo clips and DVD documentaries, as well as the full-length feature film Cradle of Fear. The apocalyptic millennial title track of the EP remains one of the band's best-known songs. The band released their fourth full-length studio album on Hallowe'en, 2000. Midian was based around the Clive Barker novel Cabal and its subsequent film adaptation Nightbreed, and the band's usage of his themes and imagery was approved by Barker himself. Like Cruelty and the Beast, Midian featured a guest narrator, this time in the form of Doug Bradley, who starred in Nightbreed but remains best known for playing Pinhead in the Hellraiser films. Bradley's line "Oh, no tears please" from "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...") and Bradley would reappear on the later album Nymphetamine. Cradle's most accessible album to date, Midian was still by no means mainstream, but marked a major shift in the band's sound, which remained uncompromising but was becoming increasingly melodic. "Her Ghost in the Fog" spawned a video which 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. Midian created a rift in fan opinion which has only increased with time: whilst taking them to new heights of popularity, it also provoked cries of "sell-out" from die-hard fans of the early albums.

The Sony Interlude

The longest ever interim period between full-length Cradle albums was nevertheless a busy time for the band. Bitter Suites to Succubi, a "transition mini-album" as Dani Filth later referred to it, 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 in featuring exactly the same band members as its predecessor, but is generally regarded as an EP and often overlooked in the band's canon. Further stop-gap releases followed in the form of the "best of" package Lovecraft and Witch Hearts and the live album Live Bait for the Dead, and the band (principally Dani) also found time to appear in Cradle of Fear while they negotiated their first major-label signing with Sony Music. Damnation and a Day finally arrived in 2003; Sony's heavyweight funding underwriting Cradle's undiminished ambition by finally allowing a real orchestra into the studio (the 80-strong Budapest Film Orchestra and Choir replacing the increasingly sophisticated synthesisers of previous albums) and thus the band's belated gestation - for one album only - into full-blown symphonic metal. Though it disappointed some fans, 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 Švankmajer-influenced Mannequin, and Babalon AD (So Glad For The Madness), based on Pasolini's infamous 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 - while the remainder comprised stand-alone tracks such as the Nile tribute "Doberman Pharaoh" and the aforementioned "Babalon AD"; a reference to Aleister Crowley. Feeling that Sony's enthusiasm quickly palled however, Cradle jumped ship to Roadrunner Records after barely a year.

Roadrunner

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). A step back from the orchestral grandeur of Damnation and a Day, Cradle's bassist Dave Pybus described it as an "eclectic mix between the group's Damnation and Cruelty albums with a renewed vigour for melody, songmanship and plain fucking weirdness spat into the smelting bowl." As with every release since Midian, sales were strong and reviews in the rock press were positive, but fan reaction was mixed. The album's aggression was generally welcomed, but many lamented the fact that the band's self-aware humour was coming increasingly to the fore, not least in Dani's punning lyrics (always present but gaining prominence). Around this time Metal Hammer dismissively referred to them as "pantomime clowns", and the band's cover version of Cliff Richard's "Devil Woman" for the Nymphetamine special edition did little to convince its detractors of the band's integrity.

The band began recording a new album, Thornography, in 2005. 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." On the subject of the album's musicial direction, Filth recently 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." The artwork by Samuel Araya featured to the left is a replacement for a previous album cover that was rejected by Roadrunner Records in May 2006, although numerous CD booklets had already been printed with the original image. The former album cover is still unreleased to the public. The scheduled release date for Thornography is currently September 19, 2006.

Genre

While many view the subject as an irrelevance, Cradle of Filth’s "true" black metal status has been in hot debate since near the time they became popular. Their format differs somewhat from most Norwegian black metal - which has led to them being deemed symphonic black metal - and they are often dismissed for a perceived lack of credibility, along with bands such as Dimmu Borgir whose pseudo-mainstream success followed in Cradle’s wake. It is arguably also the band's mischievous, self-aware humour that divides opinions and causes much of the controversy; black metal is not known for its jokes.

Some critics have labelled them and similar bands extreme gothic metal (although the term is not widely accepted) as their music draws inspiration from gothic metal. They have also, at one time or another, been labelled melodic black metal, satanic metal, vampyric metal, doom metal, speed metal, death metal, brutal death metal and horror metal, some of which are regarded by critics and fans alike as entirely apocryphal categories.

However, the band's evolving sound has allowed them to continue resisting definitive categorisation. They are audibly influenced by Iron Maiden, have collaborated on projects like Christian Death's Born Again Anti-Christian album (on the track "Peek-A-Boo"), and have even dabbled outside of metal music with their controversial dance remixes ("Twisting Further Nails", "Pervert's Church" etc), although these have fallen by the wayside in recent years. In a 2006 interview with Terrorizer magazine, current guitarist Paul Allender said "We were never a black metal band. The only thing that catered to that was the make-up. Even when The Principle of Evil Made Flesh came out — you look at Emperor and Burzum and all that stuff — we didn't sound anything like that. The way that I see it is that we were, and still are now, an extreme metal band." Appearing on the BBC music quiz Never Mind the Buzzcocks on April 9th 2001, Dani Filth wryly claimed Cradle's sound as "heavy funk", but his stated position on the band’s genre has generally been that "Cradle of Filth is Cradle of Filth."

Trivia

  • Sarah Jezebel Deva, though she has appeared on every Cradle release and tour since 1996, has never been considered a full band member. She has also performed with The Kovenant, Therion and Mortiis, and has her own solo project called Angtoria.
  • The opening line of the Midian song "Lord Abortion" ("care for a little necrophilia?") is a quote from Terry Gilliam's Brazil (voiced by Kim Greist in the film but delivered here by Toni King, Dani's wife). The torture room scene in the "From the Cradle to Enslave" video is also a Brazil homage.
  • Dani had a column in the British metal magazine Metal Hammer called "Dani's Inferno"
  • Cradle were described by The Guardian as proving that "the devil doesn't always have the best music".
  • "Dinner at a Deviant's Palace", from Bitter Suites to Succubi is actually The Lord's Prayer played backwards.
  • Cradle of Filth's cover of Samhain's song "Hallowe'en 2" for the Evolution soundtrack is their first to feature clean vocals by Dani.
  • A live review in the February 2006 Metal Hammer described Cradle as "one part Satanic to three parts sarcastic".
  • Two tracks, erroneously attributed to Cradle of Filth, are widely distributed on internet file sharing sites and programmes. The first, a cover of Iron Maiden's "Fear of the Dark" is actually by Graveworm. The second purports to be a collaboration with Sepultura called "Fucked Up Life". Cradle have never recorded with Sepultura, although the two bands have toured together, and the song in question is really "Sewn Mouth Secrets" by Soilent Green. Similarly, Cradle's cover of Venom's "Black Metal" is often mis-labelled as a cover of Slayer's "Angel of Death". Cradle have covered Slayer's "Hell Awaits", but never "Angel of Death".
  • Episode 4 of The IT Crowd ("The Red Door") revolves around the goth Richmond; once an up-and-coming professional until his transformation into a Dracula-esque Cradle fan. At the funeral of his boss's father he handed the widow a gift-wrapped CD, recommending she listen to track four, "Coffin Fodder" (actually track nine on Nymphetamine). Ever since then he has been forced to work hidden in a cupboard. Richmond is played by Noel Fielding of The Mighty Boosh. He also turns up in part six, but not as the focus of the episode.
  • A tongue-in-cheek answerphone message by Dani Filth is available to download on most peer-to-peer file-sharing networks (listed under several different names). The message is one of a series from the British magazine Metal Hammer's cover-mounted CDs, dating from the late 1990s / early 2000s. It features sound effects of thunder, lightning and creaking doors, and promises that "someone... or something will get back to you... later... much later...".
  • The band is often perceived as satanic by casual observers, although its outright lyrical references to satanism are few and far between, and its use of satanic imagery has arguably always had more to do with the shock value than any deeply-held beliefs. Nevertheless, Andrea Meyer (the band's first female vocalist on The Principle of Evil Made Flesh) makes an uncorroborated claim in Gavin Baddely's Lucifer Rising (p.211) that she was employed as the band's "satanic advisor", protecting them from the foolish excesses she believes other bands guilty of: "A lot of black metal bands know nothing of Satanism. They like the image and... give proper satanists a bad name by claiming they indulge in sacrifices and drink blood or whatever... Look what happened in Norway... Still, I liked Euronymous. He wasn't stupid - just too extreme. It's a shame that he's dead."

Line-up

Current Band Members

Former Band Members

Discography

Albums and EPs

Special Editions

Demos

  • Goetia (Demo) - (1992) Cassette tape only - never released.
  • A Pungent And Sexual Miasma (split with Malediction) - (1992) Cassette tape only - very rare.
  • Invoking the Unclean (Demo) - (1992) Cassette tape only - very rare.
  • Orgiastic Pleasures (Demo) - (1992) Cassette tape only - very rare.
  • The Black Goddess Rises (Demo) - (1992) Cassette tape only - very rare.
  • Total Fucking Darkness (Demo) - (1993) Cassette tape only - very rare.

Bootlegs

Miscellaneous Releases

DVDs

Films

Television Appearances

Books

Related Artists

Bands Covered

Collaborations

Tour Partners

External Links

References

British musical groups | British heavy metal musical groups | English musical groups | 1990s music groups | 2000s music groups

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