1. Cruelty and the Beast (1998, Mayhem)

Country: UK

Cruelty and the Beast (1998, Mayhem)

How do you review something like this? "True" black metal fans will slam you for selling out, darkwave goths will not understand your ravings about the vocals, everyone else will simply shrug their shoulders and look on in dismay... Is this music?

Yes, sure it is. One that has the mesmerizing quality that no plastic shrink-wrapped mass-produced note butcher can ever fake. Here's what happened a few days ago when I had "Cruelty..." playing in my car (can you say "loud"... I can't hear you!) Anyway, I am waiting for a friend of mine, back against the car, smoking, and looking cool as usual. This chick walks up and asks, "What is this music?" I say, "Cradle of Filth," and she just laughs. "And what's the name of the band?" she continues. "That was it, pretty neat, huh?" She smiles, "Yeah." At this point she looked like someone who HAD to learn more about this band, preferably in the privacy of my home. True story.

Now, admittedly, the listener has to suffer through an intro, which has become pretty standard these days. No worries, CoF explodes with "Thirteen Autumns and a Widow," which features lunatic drumming (sometimes off-beat), infernal screams (unbelievably high, Dani's vocals must have been sped up), angelic female voices, screetching narration, and majestic gloominess that will blow you away. And that's just the beginning. The little pseudo-philosophical statement does not detract from the next song, "Cruelty Brought Thee Orchids." This song is my second-best candidate for this album. Has more straight heavy parts than usual but played superbly and with surprising sing-along melody.

"Beneath the Howling Stars" sweeps with hysteria and overwhelms. Easily the best song, may be used to showcase the album. Whispering against the backdrop of a church organ, gathering strength as if blood starts circulating within the capillaries of one long-dead, eyes opening and body slowly rising... beneath the howling stars. If this song does not make you long to suck the blood of a fellow (wo)man, nothing will. The lyrics to "Venus in Fear" evade me. It is hard to reconcile the wailing, moaning, and the majesty of the orchestration. Bewildering.

The next two songs are not bad but are not unforgettable either. "Desire in Violent Overture" is just long, and "The Twisted Nails of Faith" sounds too much like the soundtrack of an old Hammer film. If CoF were going for the "authentic" 60s gothic feeling, they got it. It just sounds too retro for my taste.

Finally, we hit the "Bathory Aria," a three part extravanganza dedicated to Elizabeth Bathory, whose dementia is the proper inspiration for someone like CoF. As long as they don't shove insipid musings of quasi-philosophical nature down my throat, I am happy. Thankfully, there isn't too much of that here and the trilogy sounds great.

"Portrait of the Dead Countess" is the penultimate closing theme for this concept album. Contemplation, meditation, picture, death. Keyboards with grim ethereal quality flow in and out of reality.

Ending with "Lustmord and Wargasm," (not very appropriate, I think this should have been swapped with the previous song) "Cruelty..." turns another page in CoF history. I am eager to see what they come up with next.

Impeccable artwork (but which Cradle album does not have it?), ponderous lyrics with some excellent lines, a production that blows 99% of the BM bands away, and superb musicianship.

Verdict: If you don't own any CoF albums, make this your first one! If you have other Cradle CDs, I can't believe you're still reading this -- get the hell out and buy it now!