Cradle of Filth
Darkly, Darkly, Venus Aversa

The evening of Halloween always manages to retain a particular charm: echoes of ancient legends, devilish pumpkins, the sacred rite of "trick or treat," and the subsequent egg-throwing at the houses of the stingy... one could go on indefinitely. "What better day, then - the Cradle Of Filth must have thought - to release our new album?" Yes, because the Cradle are back, and a review, whether you like it or not, has to be done, regardless of being labeled as "pseudo-metallers" and the torrent of fierce criticism that the album will still receive.

"Darkly, Darkly, Venus Aversa": this is the interminable title of the ninth work of COF, a concept album (far from the levels of "Cruelty And The Beast", of course) that revolves around the figure of the demonic Lilith, the alleged first wife of Adam, cast out by God for refusing to submit to man. According to Dani Filth's band itself, it's a very "feminine" work, contrasting with the previous "Godspeed On The Devil's Thunder" and where the usual horror atmospheres (so to speak) blend with an ineffable, sensual, and sinful romanticism.

"Yes, okay - you might be saying - all very nice so far... but what about the music?" Well, don't be fooled by the single "Forgive Me Father (I Have Sinned)," created specifically to sell and undoubtedly the worst track on the album. Rest assured, after that abominable monstrosity known as "Thornography", the COF has not stooped to such low levels again, and "Darkly, Darkly, Venus Aversa" is proof of that. In the opening track ("The Cult Of Venus Aversa"), the notes of a harpsichord accompany the deep voice of Lilith, queen of the Darkness; a few words of welcome, and a tremendous drum rush officially kicks off the pandemonium, which continues until "The Persecution Song," a real oasis. The album proceeds on these tracks, with a great Ellyllon on keyboards, a Dani Filth who sustains his anguished screams less and less (but compensates by staying just as rude), laments of suffering souls, female counter-choruses, and some sporadic moment of amazement (such as the thrash, almost hard-rock riff of "Deceiving Eyes"). Thus, between devastating slams and more tenuous and delicate stretches, the album, after the dragonfly-winged demon has bid us farewell for the last time ("Beyond The Eleventh Hour," the most successful of the lot along with the initial track), draws to a conclusion.

In short, the Cradle Of Filth return with a work that, despite offering a musical proposal heard and reheard, can certainly be judged as convincing and well-balanced. The Suffolk group will never again reach the heights once climbed, but it doesn't matter. In the metal scene, there is this flaw: constantly comparing a band with its past. Today, the COF are this, so don't make a big deal of it and enjoy an abundant hour of music that, considering it was composed by a band I thought was over, pleasantly surprised me... and will surprise you.