Track Listing

1. Under Pregnant Skies She Comes Alive like Miss Leviathan
2. Dirge Inferno
3. Tonight In FLames
4. Libertina Grimm
5. The Byronic Man
6. I am the Thorn
7. Cemetery And Sundown
8. Lovesick for Mina
9. The Foetus of a New Day Kicking
10. Rise of the Pentagram
11. Under the Huntress Moon
12. Temptation

Product Details

• Amazon Sales Rank: #20039 in Music
• Brand: Cradle Of Filth
• Released on: 2006-10-17
• Number of discs: 1
• Format: Explicit Lyrics
• Dimensions: .23 pounds

Album Description
And so to 2006, where Cradle Of Filth find themselves in the enviable position of being in a league and class of their own. Having long since outstripped the achievements of their one-time contemporaries, the band is now firmly entrenched in a rich vein of form. The current line-up of Dani Filth, guitarists Paul Allender and Charles Hedger, bassist Dave Pybus and drummer Adrian Erlandsson is the most solid and powerful in the band's career and Thornography is the resounding, conclusive proof. With songs as brutish, bombastic and diverse as Libertina Grimm, Tonight In Flames, Cemetery & Sundown, I Am The Thorn, The Byronic Man (featuring HIM's Ville Valo on guest vocals) and a deranged cover of Heaven 17's '80s pop gem Temptation, the world's biggest and best extreme metal band have never sounded so exhilarating, so vital, so venomous.

About the Artist
Throughout the '90s, Cradle of Filth - led by vocalist, lyricist and crypt-crawling master of ceremonies Dani Filth - beavered tirelessly away, producing a series of peerless extreme metal classics that drew from an endless, dizzying array of inspirations and influences while always maintaining that instantly recognisable heart of filthy darkness. The brutal and brief Vempire mini-album and the lustrous, lascivious Dusk & Her Embrace (both 1996) began to reveal the band's great sonic range. Later taking into account the slithering concept piece Cruelty & The Beast (1998) and the Clive Barker-inspired Midian (2000) - not to mention their excursions into the visual realm of film and promo - the Cradle Of Filth sound showed itself to be a many-headed creature. It was one that took delight in confounding both the purists and the critics who continually assailed the band's motives and creativity even as their fan base expanded and their status soared. With a line-up that seemed to be constantly changing - thanks, perhaps, to the cobweb-encrusted revolving door that rumours suggest marked the entrance to the band's rehearsal space during this period - the music was never allowed to stagnate fresh blood and its revitalising effects remained a permanent weapon in the boys' macabre arsenal...

Customer Reviews

Great album, but not for everybody
As you can see from earlier posts on this message board, Cradle of Filth have been the subject of much conversation lately. In fact, even some of the members have said Cradle isn't and has never been a true black metal band. And now that these seven Brits have released their second slickly-produced album on a major label, have a MySpace page, and have been in talks with MTV and Hot Topic, "sell out" rumors are running rampant. But this writer's opinion is this is yet another case of a band tweaking its sound without selling out. This has happened so often that I'm getting tired of writing these reviews. Yes, Cradle of Filth did sound a lot more raw and in line with traditional black metal on their debut, 1994's "The Principal of Evil Made Flesh." But what everyone needs to realize is, even though they have crossed the line into mainstream territory, they can still shred as mightily as ever before. On all six of their full length releases previous to this one, COF have seamlessly crafted together gothic overtones, haunting and usually symphonic ambience, brutal extreme metal, imaginative, conceptual lyrics, high amounts of drama and an occasional dash of humor. And their new full length, this year's "Thornography" (a second for Roadrunner), is, of course, the same way. In fact, if anything slightly hinders "Thornography," it's that it can sometimes be a tad bit on the familiar and/or predictable side. For example, Dani's Filth's vocal range--piercing shrieks and low bellows--hasn't changed or matured whatsoever. But one needn't worry that it's a carbon copy of everything else they've already released, because a few new ingredients are brought to the table here, such as guitar soloing (!), and various Iron Maiden-esque harmonies (yep, you read that right).

"Thornography" begins with an expected orchestral overture, "Under Pregnant Skies She Comes Alive Like Miss Leviathan." Tracks like this are pretty standard for a Cradle of Filth album, but it's nonetheless ominous and bone-chilling. "Tonight In Flames" and "Cemetery and Sundown" are also standouts because they take on a new, unique, and daring approach. The former has a clean vocal refrain and piano mid-section, whereas the latter features several melodic hooks and even a vague pop appeal. And the closer, "Temptation," an entirely unexpected yet decent cover of a romantic song originally written by Heaven 17, is perhaps the record's biggest surprise.

The rest of the disc, however, is much different. Track two, "Dirge Inferno," is an all out onslaught of driving blast beats, and catchy, punching twin guitar riffs. Despite being kind of groove-oriented, "I Am The Thorn" is a blistering thrashfest with shredding riffs, rapid fire double bass kicks, and four lengthy, careening solos. "Lovesick For Mina" is vintage Cradle of Filth-it perfectly balances restrained, well-placed melody (i.e. soft strumming, cool piano keys, violins, and spoken word vocals) and unabashed, bludgeoning metal (with blasting drums and strong, fiery leads). "Rise of the Pentagram" utilizes a similarly great dynamic, and places gentle synths, choral vocals (in the background), and what sounds like a church organ alongside smoking, buzzsaw guitar parts. This song is also a highlight because it's almost entirely instrumental, aside from the creepy and somewhat nasty spoken word poem (about sex, the Garden of Eden, serpents, blasphemy, etc.) at the beginning. Lastly of note is "Under Huntress Moon," which boasts bulldozing, earthquake riffs, a deeply grumbling bass line, and insanely fast, pounding skins.

Though "Thornography" isn't quite as epic or innovative as some of their earlier works (like, say, 2003's "Damnation and a Day"), it is substantially more expansive than 2004's "Nymphetamine," because COF definitely took a few new musical strides here. These strides have disgusted many longtime fans and black metal purists and are sure to alienate some newcomers. But the fact of the matter is, aside from a couple experimental moments, this album is surprisingly easy to digest and will satiate those who long to hear what they're used to hearing: full-fledged brutality and face-melting intensity. Thus, "Thornography" is NOT a ruination of the signature, legendary sound Cradle of Filth started establishing over a decade ago; this is the same band you've always known and loved.

An honest opinion.
I would like to start by stating that this album is not death metal, black metal, ect. Nor does the band claim to be. The closest they have been was Principle of evil made flesh........maybe, and they evolved from there. Cradle of filth sounds like Cradle of filth.

Anyone new to COF will enjoy this cd. Even the people who have liked them from the begining will like it. It is a Very good cd. Not there best effort but worth buying.

Less Edge More Craft
Certainly this is the most accessible release from COF yet. And as often occurs in the metal community as soon as beloved bands nod towards commercialism the knives come out and sell out is screamed. No need really because this is the most direct and palatable release so far and I am sure they must be attempting to expand their market, afterall all things must be reborn if they are to continue otherwise it grows stale and old. The vocals are frequently tuneful and the choruses and bridges to the songs are memorable after only a couple of listens. In other words less percistance is needed to find the hook. Indeed this cd reminds me of the old school stylings of Mercyful Fate or the NWOBHM style of that era say 83-ish metal which I personally loved. Of course the Iron Maiden stylings are still very present and it all sounds terribly British. Perhaps the extremity of their sound is in a better doseage for a more mainstream market this time. Song highlights must be 'Tonight in Flames' which really highlights an attempt at more traditional workings and is very successful by doing so, and 'The Byronic Man' for the same reasons. The negative votes are coming (I sense) but I personally think the Edgar Alan Poe gothic style lyrics are now a liability and they should write less cryptically to match the less cryptic style they have adopted musically. Either a watershed release or the end perhaps, time will tell?