Cradle of Filth The Screaming of the Valkyries

International and Grammy award-nominated extreme metal band Cradle of Filth have returned with their 14th studio album The Screaming of the Valkyries, which is due to be released on March 21st via Napalm Records.

Frontman Dani Filth says of the new album:

"It’s very fresh. We wanted something cinematic and catchy where you can hear everything clearly. I despair whenever someone asks me to describe a record.

Because it’s an eclectic mix of styles and pacing.

We’ve explored every facet of our arsenal. There are the ponderous, melancholic tracks, the extremely memorable melodies, and the songs that hearken back to previous records."

Formed in Suffolk, England in 1991, Cradle of Filth quickly established themselves as pioneers of the extreme metal genre. Their early works, such as The Principle of Evil Made Flesh (1994), Dusk and Her Embrace (1996) and Midian (2000) set the tone for their signature style - a fusion of gothic, symphonic, and black metal elements, characterised by grandiose compositions and theatrical visuals. The band has continuously pushed the boundaries of the genre, both musically and lyrically, delving into themes of horror, dark romance, and the supernatural.

Kicking things off immediately with the sinister and catchy “To Live Deliciously,” the band showcases altering vocal styles from haunting rasps, violent screams and low, threatening growls. Dani's signature vocals are diverse and distinguishable as always, however, there's something fresh about them on this album.

One thing prevalent throughout the album is how guitar-driven it is. Yes, there are plenty of symphonics, keyboards and orchestration a la Cradle of Filth but the focus here is on the guitars. Between chugging, spiraling riffs and screaming solos, the guitars are detailed and captivating. This is also highlighted in tracks such as “The Trinity Of Shadows” and “Ex Sanguine Draculae,” particularly with the tremolo picking. A special mention to the thunderous and rampaging rhythm section on this album, complete with chugging basslines and blast-beats that set the pace.

Tracks such as “Demagoguery” and “You Are My Nautilus” really emphasise the use of keyboards and symphonics whilst keeping the guitars at the forefront, taking huge inspiration from early Cradle of Filth albums. The twin guitar attack from the latter is a major highlight of the album, creating a blistering presence which grabs you by the jugular. Between the rampaging, swinging pace, addictive groove-stomps and haunting atmosphere, the album maintains an exciting sense of muscular power complete with symphonic layers and varying soundscapes.

“Non Omnis Moriar” changes the pace to a melancholic, somber yet enticing track full of gothic despair and captivating imagery, which wouldn't be out of place on the Dusk album. The contrast between Dani's rasping screams and growls and Zoe's haunting, ethereal clean vocals adds a dynamic layer to one of the most emotively powerful tracks off the record. This is followed by the straight-forward and rhythmically expansive “White Hellebore,” where Dani and Zoe's vocals interplay and create a dynamic contrast on a foundation of dark groove and aggression.

Bottom Line: Cradle of Filth has once again enthralled their legion of fans with their latest offering, The Screaming of the Valkyries. This album, steeped in the band's trademark gothic and symphonic black metal sound, showcases their unparalleled ability to blend dark themes with intricately haunting melodies. Love them or hate them, there's no denying their unwavering dedication to their craft and The Screaming of the Valkyries showcases not only their finest album in recent times but also the tightest iteration of the band's history.