Cradle Of Filth
Godspeed On The Devil's Thunder

Manneristic.

This, and nothing else, could we expect from the anticipated comeback of the English vampires, after the disaster two years ago, the controversial "Thornography". Manneristic, I was saying, and guitarist Paul Allender himself announced it months ago: a "golden" mesotes between the style of the timeless "Dusk... And Her Embrace" and the more lively one of "Midian" would be the hallmark of the new work, a return to the band's more classic sound, in short, also confirmed by the cryptic (and a bit goofy, moreover) announcements of the historical frontman Dani Filth, who, bolstered by the recent aggressive haircut, loudly proclaimed not only a stylistic return to the era most loved by the fans of the Ipswich combo but also that "Godspeed On The Devil's Thunder" would be their most extreme album ever.

The incontrovertible truth is that the very particular chemistry of that unforgettable and unforgotten era is now irretrievably lost, also because "Damnation And A Day", "Nymphetamine" and "Thornography" stand in the way, which, despite all enthusiastic and nostalgic declarations of returning to origins, make themselves felt, and not little (listen to "The Death Of Love" to believe it, a track that in my opinion will spark much debate among fans, with its unfolding completely Gothic, which brings it closer to the style of "Nymphetamine," but surpassing it greatly on the melodic side).

It would also have been stupid and irresponsible to blatantly copy the most glorious episodes of their past, and so everything is mitigated, we might say, by the experience of the more recent works: an impression I already had from listening to the single "Tragic Kingdom", where in any case this mixture of elements is appreciated for the speed and power of the execution, accompanied by orchestrations finally present and powerful, no longer relegated to a secondary role.

All in all, however, this "Godspeed On The Devil's Thunder", a concept centered on the life and misdeeds of Count Gilles De Rais (1404-1440), an edifying sort of serial killer pedophile satanist forebear, fulfills all the promises made by Cradle in recent months, and will certainly not fail to satisfy those who already love and have had the opportunity to appreciate the work of Mr Daniele Sconcezza even in the past; for the more nostalgic listener it seems indeed like at times we have returned to the golden era of "Cruelty And The Beast," sometimes to that of "Midian," and at other times again to that of "Damnation..." (especially for the power of the orchestrations, of a strongly Gothic stamp, and for the damned speed of some tracks, thanks also to the excellent performance of the new entry Martin Skaroupka, a solid drummer who well marries the style of the Cradle of Filth): tracks like "Shat Out Of Hell" (which closely recalls the overall style of "Damnation And A Day," along with "Honey And Sulphur," of which a video was also made), "The 13th Caesar," "Sweetest Maleficia," or the title track delight the connoisseur of the band of the legendary "dwarf," who on his part engages in a performance at the limits of his abilities (unfortunately the voice is no longer that of "Dusk..."), finally offering those atmospheric moments that were missing.

Of course, there is no shortage of the usual orchestral intros, such as "In Grandeur And Frankicense Devilment Stirs," which opens the album in the most classic way possible, the good, eerie "Tiffauges," and the concluding "Corpseflower," which is now more a tradition, a habit, as well as the meticulous artwork, which this time renounces the fiery arabesques in favor of macabre representations of taste and style I would say ... fairy-tale and 'naïve'; the count is now a big bad wolf, now half pig, or a Sicilian puppet fighting alongside Joan of Arc, while in the group photo on the back, guitarist, bassist, and drummer, all studded and bleeding (Skoroupka's head is inexplicably exploded), among gray and decayed medieval ruins, surround a more bored than ever Daniele Schifezza as a new Gilles De Rais, holding a chubby and unsuspecting little angel in his arms.

It is surprising to discover that the keyboard parts were recorded by one Mark Newby-Robson and not by the beautiful Rosie who, evidently, will be with the group only in live sessions, and that the historic female voice Sarah Jezabel Deva has been joined by other... colleagues.

Manneristic, I was saying, this "Godspeed On The Devil's Thunder," but also a decisive signal after the disastrous "Thornography," an ambitious album for Cradle Of Filth, who have nevertheless managed, as true professionals, to handle impeccably the 71 minutes of a record that well represents the canonical style that distinguishes the band. Mission accomplished, therefore, and even if they will not manage to make those afternoons of mortal abandonment pass as only "Dusk..." could do, songs like "Tragic Kingdom," "Honey And Sulphur," "Darkness Incarnate," the title track, and, why not, even the blatantly cunning "The Death Of Love" are destined to be the group's new hits, which will henceforth inflame the nights of the British concerts. A return in every respect, therefore, worthy of the name of ours and that says little new, but certainly says it very well.