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The first CoF album - and while it's not strictly true that they arrived fully formed, the CoF trademarks were in place. The longwinded, suitelike arrangements (although most of the songs are relatively short) with inventive use of keyboards, the frequent use of female vocalists (to portray characters in the lyrics), Dani Filth (aka Dani Davey)'s powerful growl/screech vocals, and his lyrics that manage to be poetic, ornate, and 19th-century in tone, at the same time as being guaranteed to offend the religious and those with an allergy to swearing. The biggest distinguishing factor on the album is that Dani hasn't quite grown into his voice. The upper register is the difference - where you would expect to hear a scream, he instead uses a mid-range tone that might remind you of David Tibet (a la "Panzer Ruin"). But back to the lyrics - the main focus of attention. He really doesn't care who he offends - there are anti-Christian-Church lines in a couple of songs which could be interpreted as anti-Semitic...if you weren't taking the time and trouble to study the album as a whole. To those who are studying the lyrics, what should come across very clearly, on this album in particular, is that Dani uses the mask of Satanist and/or Pagan (he seems to have trouble separating the two) as a means of advancing an anarchistic agenda. It's not just certain churches he objects to, but all in authority - all those who wish to oppress. Lots of lyricists use this "technique" but few do so as adeptly, or with as much poetic skill.
"The Principle of Evil Made Flesh" is the title of a CD of Cradle of Filth, a British group that plays an extreme metal, but very fascinating for its variety of composition. This is an historical band, the music scene for over twenty years and this is their first musical work. Released in 1994, contains 13 very different songs to each other and full of a good dose of trial, conducted at 360 degrees. Among these, I really like "One Final Graven Kiss", an instrumental piece of a little over 2 minutes, which is charming, soft, environmental, and very different from everything else. The calm before the storm, an oasis of peace in the midst of a war without end. "Of Mist and Midnight Skies" is a very long track, which opens with a church organ and a voice that resembles that of a priest, although once you understand that the atmosphere is not exactly the same. It 'a piece varied and interesting, that despite the extremes of the case, I find really well done. "The Forest Whispers My Name" shows what the band is able to do on the instrumental, with raging electric guitar riff, a great performance by the bass and drums which is something overwhelming in its entirety. For the rest, there are also songs that are too noisy for my taste, and contain an entry really unlistenable to my ears. Anyway, my overall assessment of this musical work is good.
Despite being popularly (and erroneously) labelled as a black metal band, Cradle of Filth's debut album is the only pat of their discography that really deserves such categorisation, but even at this early point the band introduces the gothic elements that would subsequently take hold. This isn't a black metal album in the tradition of Mayhem, Emperor, Darkthrone and the other evil Norwegian acts of the early nineties, but it adopts enough of their traditions - cackled vocals, tremolo-picking guitar riffs and blast beats from the drum kit - that it's clearly an attempt to provide an English alternative, one that was evidently successful given the band's initial favour with acts such as Emperor, before later releases saw the black metal community turn its back on the increasingly popular act. This is less refined than some of the band's later works, but that also lends it an amateurish charm. Their vampiric and occult themes are clearly in their infancy, and the heavy emphasis on keyboards - leading to four of the thirteen tracks being little more than interludes, plus the stupid spoken word finale - is rarely incorporated into the more substantial songs in a meaningful way, the notable exception being the piano sections of 'The Black Goddess Rises.' 'Summer Dying Fast' is the ultimate expression of this amateurishness, its speedy pace still rooted slightly in the band's death metal days and the keyboards sounding unbearably cheesy in a Hammer Horror style, but this is still an enjoyable album with a few great offerings, mostly as the band moves towards the sound it would perfect on albums such as 'Dusk and Her Embrace.' 1. Darkness Our Bride (Jugular Wedding) 2. The Principle of Evil Made Flesh 3. The Forest Whispers My Name 4. Iscariot 5. The Black Goddess Rises 6. One Final Graven Kiss 7. A Crescendo of Passion Bleeding 8. To Eve the Art of Witchcraft 9. Of Mist and Midnight Skies 10. In Secret Love We Drown 11. A Dream of Wolves in the Snow 12. Summer Dying Fast 13. Imperium Tenebrarum
Cradle of filth have been around for almost a decade now and have quite a bit to show for it, but personally i think that "The Principle of Evil Made Flesh" album is the best on of them all. a 13 track album that gives the listener 52 minutes of pure nail biting Black metal at its finest, this is also their first studio album and was released in 1994 via Cacophonous records. since this alum they have had several different line ups and only two remain from the "The Principle of Evil Made Flesh" Dani filth provides some unique vocals to the band, Paul allender gives some amazing riffing on guitars. A lot of the lyrics involve vampires, satanism and other anti religious content. with out the release of this album i beieve cradle of filth would never have noticed in the world of metal, they are now one of the UK's and possibly the world's leading metal bands.
Disc #1 Tracklisting
1 Darkness Our Bride (Jugular Wedding)
2 Principle Of Evil Made Flesh
3 Forest Whispers My Name
5 Black Goddess Rises
6 One Final Graven Kiss
7 Crescendo Of Passion Bleeding
8 To Eve The Art Of Witchcraft
9 Of Mist And Midnight Skies
10 In Secret Love We Drown
11 Dream Of Wolves In The Snow
12 Summer Dying Fast