Cradle Of Filth
Thornography

THE REVIEW

I want to preface, before I start writing this review, that I adored Cradle Of Filth, or perhaps I still adore them: I discovered them with "Midian," adored them with "Dusk... And Her Embrace" and "Cruelty And The Beast," and forgave them wholeheartedly for the inferior "Nymphetamine."

As for the album in question, "Thornography," in an interview given before the release of the record, Dani Filth had announced that it would have a more Thrash approach, but at the same time, the songs would have catchier and more ear-catching choruses. But to imagine that Dani would even start singing with a clean voice (as much as this is possible)... But let's proceed in order.

The opening is entrusted to the instrumental intro "Under Pregnant Skies She Comes Alive Like Miss Leviathan," which adds little to "Satyriasis" from the previous album, but still makes an impression. It is followed by "Dirge Inferno," a good, powerful piece from which one can clearly hear the new Thrash choice: it soon becomes evident right after the opening riff that something has changed in the COF camp. "Tonight In Flames" starts well and proceeds until horror erupts, and this not for the macabre atmospheres but because Dani SINGS the chorus; however, it's a good track overall. The tragic forebodings upon hearing this track materialize in the following "Libertina Grimm," where, along with "The Byronic Man" (with Ville Valo from HIM participating), the album hits rock bottom. If "I Am The Torn" slightly raises the level, still remaining far from the band's usual standards in my opinion, "Cemetery And Sundown" quickly disillusions the listener, with Cradle absolutely unrecognizable and absurdly sold out to commercial trends: it would be suitable as a soundtrack for something like "Scary Movie" or for a vampire-themed party among fifteen-year-olds: compared to past glories, absolutely unacceptable. "Lovesick For Mina," inspired by Count Dracula's morbid attraction to young Mina Harker as narrated in Bram Stoker's novel, brings us back with its slow pace to the sick atmospheres of the past, though without matching them. "The Foetus Of A New Day Kicking" is still a song unacceptable to COF sound enthusiasts, in which Dani shocks the listener by singing a moving (???) chorus.

"Rise Of The Pentagram" is an instrumental piece, the first created by the band with the participation of all members and not entrusted solely to the keyboardist, indeed a good track. "Under Huntress Moon" is another good piece, which vaguely reminds me of Moonspell in style, while in the central part, there's a flurry of power and speed that for a moment brings the listener's mind back to the old times. The inconceivable "Temptation" closes, inconceivable because there would be no valid explanation for its inclusion in the album, if the latter did not seem to be a colossal marketing ploy.

On the whole, the record seems uninspired, and in the least inspired moments, Adrian’s traditional drum blanket seems to intervene just to plug the gaps and make it all more COF-style. Another serious issue is the absence, for almost the entire album, except in "Under Huntress Moon", of the legendary Sarah Jezabel Deva, whose sinful and hypnotic tones were my cross and delight in "Dusk... And Her Embrace". Finally, the lyrics (not that much more was understood before, but in my opinion, there was true poetry, take "Dusk.." for example, the words, like in decadent poetry, suggested without revealing too much, hence their expressive power), are an alarming indicator of such a lack of inspiration, they are just words thrown in randomly, forming vague assonances and absurd rhymes. The idea is that of a commercial shot just to get by.

I leave on the notes of "Lovesick For Mina," with much bitterness, especially considering that the price of the CD is, believe it or not, an absurd 19.90 EUR, an insane amount for such a thing... I await, but this time with open eyes and much disillusionment, the next release from Cradle, which, given their usual rhythm, should not take long to come, and then I will know definitively if this "Thornography" was just a slip-up, a mistake along the path, or the tombstone of COF (who can say? After all, in 1986 the legendary Judas Priest came out with "Turbo" and everyone thought they were done for, and 4 years later came the devastating "Painkiller," but as is known, those people had a whole other fabric, regarding COF I am very doubtful... and then "Turbo" is better!!! Yes, I know it has nothing to do with the subject of the review, but it was just to say!!).

A 2 for disillusionment.