Cradle Of Filth | Dusk And Her Embrace - The Original Sin | Darkness Shall Rise Productions

 

    Cradle Of Filth is an English extreme metal band formed in Suffolk in 1991. Known for combining elements of black metal, gothic horror, and symphonic metal, the band built its identity around dramatic theatricality, poetic lyrics, and vivid dark imagery. Fronted by the ever-present Dani Filth, their early years were marked by raw sound and controversy before evolving into one of the most recognizable names in extreme metal. They released influential albums like “The Principle Of Evil Made Flesh,” “Dusk And Her Embrace,” and “Cruelty And The Beast,” leaving a lasting mark on the symphonic black metal landscape.

“Dusk And Her Embrace—The Original Sin” is the long-lost 1995 version of Cradle Of Filth’s second album, which was finally released in 2016 by Cacophonous Records. Originally shelved due to legal disputes with the label, this earlier version was recorded with a different lineup and carries a noticeably different tone compared to the 1996 release that followed on Music For Nations.

This version of “Dusk…” is rawer and more aggressive, closer in style to their debut, “The Principle Of Evil Made Flesh.” The production is thinner and less layered, and the female vocals are more understated. The orchestral and keyboard elements are simpler, giving the album a colder and more stripped-down feel. Dani Filth’s vocals are also more feral and less refined. Despite these differences, the songwriting quality is still strong, and it provides a unique insight into a turning point in Cradle Of Filth’s evolution.

It is their best release after “Cruelty And The Beast,” especially among longtime fans (count me in) who value its historical context and raw charm.

Differences Between the Two Versions

• Recording Time & Lineup: The original version was recorded in spring 1995, shortly after “The Principle Of Evil Made Flesh,” with a mostly unchanged lineup: Paul Allender, Paul Ryan, Benjamin Ryan, Jon Kennedy, and Nick Barker. The 1996 version was re-recorded with a nearly different band, adding Robin Graves and Gian Pyres.
• Label and legal issues: The original was intended for Cacophonous Records, but legal battles prevented its release. Instead, the band released the “V Empire” EP to fulfill their contract and then moved to Music For Nations.
• Sound and Production: “The Original Sin” is rawer and more direct. The 1996 version is richer and more atmospheric, thanks to producer Kit Woolven. Orchestral elements and female vocals are more elaborate in the re-recorded version.
• Tracklist Differences:
• “Macabre, This Banquet” and “Carmilla’s Masque” appear only in the original.
• “Malice Through The Looking Glass” is exclusive to the 1996 version.
• “Nocturnal Supremacy” appears in its full form here; in the re-recorded era, it was placed on “V Empire.”
• Vocals and Atmosphere: Dani’s performance on the 1995 version is more primal. The tone of the album feels more underground, with a harsher edge and less theatricality.
• Packaging Trivia: The 1996 release contained multiple versions of the album title in different parts of the artwork and booklet, causing years of confusion. “The Original Sin” clears this up by using the initial intended presentation.

Track by Track:

1. Macabre, This Banquet – 1:33
   A short instrumental opener with gothic organs. It sets a dramatic entry, similar in spirit to the intros of their early work.
2. Nocturnal Supremacy – 6:03
   A fast and aggressive track. Features blast beats, sharp riffs, and a strong sense of urgency. It's simpler than the V Empire version but just as intense.
3. Heaven Torn Asunder – 6:55
   Powerful and direct. The song builds in waves, combining tremolo guitars with classic black metal sections. A clear bridge between the debut and the direction taken later.
4. Dusk... And Her Embrace – 6:13
   Haunting and cold. This early version is more stripped-down, but the gothic melodies and dark atmosphere remain intact. Dani's screams cut through sharply.
5. A Gothic Romance – 8:45
   Long, theatrical, and filled with shifts in tempo. This early version has a more straightforward structure and less layering but retains the dark fairy tale quality.
6. The Graveyard By Moonlight – 2:02
   Short instrumental interlude. It’s minimal and eerie, working well as a break between heavier tracks.
7. Funeral In Carpathia – 8:20
   One of the album’s highlights. The 1995 version leans more on traditional black metal pacing, less symphonic but still dramatic and epic.
8. Beauty Slept In Sodom – 6:35
   Dark and theatrical. It’s a slower, brooding song. The early version features more basic keyboard arrangements and a very raw vocal delivery.
9. The Haunted Shores Of Avalon – 7:11
   A rare track not on the 1996 release. Features guest vocals from Cronos, Steve Grimmett (R.I.P.) and eerie choral parts. One of the most atmospheric and ambitious songs on the album.
10. Carmilla's Masque – 2:59
    Instrumental outro. Simple and melodic, it serves as a graceful exit, replacing “Haunted Shores” from the 1996 release.
11. A Gothic Romance (Demo Version) – 8:25
    An even earlier take. Slightly more chaotic, with rougher transitions and lower production quality. Interesting for historical context.
12. Nocturnal Supremacy (Demo Version) – 6:15
    Raw and untamed. It shows the structure of the final song but with looser playing and more aggressive vocals.

Now in 2025, Darkness Shall Rise Productions reissued this historical recording with new mastering by Patrick W. Engel at Temple Of Disharmony, bringing a sharper edge to the original material. Presented in a deluxe hardcover digibook CD edition with a 24-page booklet and fresh liner notes by Olivier ‘Zoltar’ Badin, this reissue marks the first time the release is also available on limited edition picture disc and cassette, as well as LP in three collectible vinyl variants.

“Dusk And Her Embrace—The Original Sin” isn’t just a curiosity or fan-exclusive release. It is a crucial part of Cradle Of Filth’s history. While the 1996 version is generally tighter, grander, and more refined, this earlier take shows where the band was creatively in 1995—aggressive, imaginative, and caught in a transitional moment.

The album also bridges the gap between “The Principle Of Evil Made Flesh” and the more theatrical “Cruelty And The Beast,” making it essential listening for anyone who wants to understand the full evolution of Cradle Of Filth. It may not replace the 1996 album in importance, but it certainly stands beside it as a meaningful and powerful release.

Score: 10

Cradle Of Filth | V Empire or Dark Faerytales In Phallustein EP | Darkness Shall Rise Productions

 

    Cradle Of Filth is an English extreme metal band formed in Suffolk in 1991. Emerging from the early second-wave black metal movement, the band quickly developed a unique sound blending theatrical elements, symphonic arrangements, gothic horror themes, and complex song structures. Vocalist and lyricist Dani Filth has remained the central figure of the band since its inception. Their early works like “The Principle Of Evil Made Flesh” (1994) and “Dusk... And Her Embrace” (1996) shaped the gothic-symphonic black metal style that the band would become known for, balancing fast tempos, shrieking vocals, orchestral interludes, and vampire-fantasy storytelling. Over time, Cradle Of Filth became one of the most widely recognized and controversial names in extreme metal, both for their imagery and their evolving sound.

Released on April 22, 1996, "V Empire or Dark Faerytales In Phallustein" is often considered a transitional release. Although labeled an EP, its length and scope position it closer to a full album. It marks the end of the band's relationship with Cacophonous Records and the beginning of a new chapter musically. This release features several important changes: a new lineup, a sharper musical direction, and the first appearance of Sarah Jezebel Deva, whose operatic vocals added depth to the band’s future sound.

Even though it was produced quickly to fulfill contractual obligations, "V Empire" sounds fully realized, more structured than its predecessor, and already hints at the elaborate arrangements that would define “Dusk... And Her Embrace”. The EP also features a re-recorded version of “The Forest Whispers My Name,” linking the past with the then-present lineup. The improved production helps bring the songs to life with more force and clarity than the debut, while the atmosphere remains intact.

Track By Track:

I. Ebony Dressed For Sunset – 2:49

A brief and aggressive opener. It jumps straight into the action with blast beats and layered screams. The short length makes it function well as an introduction to the EP’s sound.

II. The Forest Whispers My Name – 4:41

This re-recorded version of this classic from the debut album improves on the original with tighter instrumentation and clearer vocal layering. The song retains its pagan atmosphere, and the updated performance feels more controlled and deliberate.

III. Queen Of Winter, Throned – 10:27

Arguably the finest track Cradle Of Filth ever wrote. Over ten minutes long, this epic combines many of the elements that would define the band going forward—dramatic choirs, soaring female vocals, narrative transitions, and sharp shifts in tempo. A sprawling composition filled with baroque ambition and melodic complexity.

IV. Nocturnal Supremacy – 5:53

Fast, rhythmically intense, and direct. It maintains the aggression while also incorporating atmospheric keys and layered vocal arrangements. It balances fury with structure and offers some of the tightest instrumental interplay on the EP.

V. She Mourns A Lengthening Shadow – 3:42

An instrumental track led by keyboards. It serves as a breather between the heavier songs, adding gothic texture. It helps the pacing of the EP and builds anticipation for the finale.

VI. The Rape And Ruin Of Angels (Hosannas In Extremis) – 8:52

Another long and ambitious track that closes the EP. This song combines black metal violence with choral and symphonic elements. The shifting parts feel theatrical without losing focus. It is both aggressive and melancholic, finishing the EP on a grand note.

"V Empire Or Dark Faerytales In Phallustein" is a key release in Cradle Of Filth’s early years. It acts as a bridge between their raw beginnings and their more sophisticated later material. The lineup changes and added female vocals pushed the band into new territory. Though born out of legal pressure and internal turmoil, the result is impressive, refined, and highly influential in shaping the band’s future.

This new reissue by Darkness Shall Rise Productions gives new listeners and longtime fans the best possible version of the EP. With proper remastering, updated notes, and high-quality packaging, it honors a release that helped define extreme gothic metal in the 1990s.

Score: 9.0

Cradle Of Filth | The Principle Of Evil Made Flesh | Darkness Shall Rise Productions

    Cradle Of Filth formed in Suffolk, England, in 1991. Their early years were marked by a series of demos and shifting lineups, but by 1994, the band released their debut, “The Principle Of Evil Made Flesh.” Blending early black metal with elements of gothic, symphonic, and theatrical flair, they quickly carved out a unique place in the European underground. Fronted by the unmistakable presence of Dani Filth, the band would evolve considerably over the years, but this first full-length still stands as a defining statement in their long discography.

“The Principle Of Evil Made Flesh” is more than just a debut—it’s a cornerstone in the evolution of British extreme metal. When it landed in 1994 via Cacophonous Records, it caused a tremor in the European black metal movement. While rooted in the grim aesthetic of the early ’90s scene, Cradle Of Filth added Victorian elegance, literary references, and gothic romance to the mix—ideas that weren’t common at the time.

It remains the only full-length by the band embraced as "true black metal" by some traditionalists. Its mythic status comes not only from its sound but also from its image, lyrical content, and underground credibility. The original production was raw and haunting, whether by choice or necessity.

Now, three decades later, Darkness Shall Rise Productions has treated this classic with the respect it deserves. The 2025 reissue is not just a reprint—it’s a preservation effort. Patrick W. Engel's remastering from the original 1993 DAT tapes is meticulous and historically conscious. The dynamics are kept intact, the rough textures remain, but there’s a new depth that brings out the strength of the arrangements. Offered in multiple formats—including digibook CD, MC, vinyl, and picture LP—this reissue is an important event for longtime fans and a perfect starting point for new listeners.

This album is theatrical, poetic, and occult-driven without abandoning the core rawness of black metal. With keyboards weaving between riffs, female vocals adding ghostly touches, and lyrics drenched in esoteric imagery, it’s unlike any other debut from that time.

Dani Filth’s voice is harsher and more ragged here compared to later works. The guitars of Paul Allender and Paul Ryan strike a balance between traditional black metal tremolo picking and melodic phrases. The drumming by Nick Barker adds weight and precision, even under layers of reverb. Benjamin Ryan’s keyboards are a defining element, helping to create a sense of haunted grandeur.

The album leans heavily on mythology, feminine archetypes, and blasphemous romanticism. Though sometimes chaotic, that chaos contributes to its charm and raw energy. It’s neither pure second-wave black metal nor gothic metal—it’s a collision of both.

Track-by-Track:

I. Darkness Our Bride (Jugular Wedding) – 2:00

A ceremonial introduction. Organ tones, whispers, and ritualistic chants prepare the listener for the themes ahead.

II. The Principle Of Evil Made Flesh – 4:34

Fast and aggressive, this title track establishes the album’s twisted elegance. The riffs are sharp and relentless, broken by atmospheric interludes.

III. The Forest Whispers My Name – 5:06

One of the most memorable songs and an all-time classic anthem. Balances dark romanticism and fury with haunting lyrics about nature and death.

IV. Iscariot – 2:33

An instrumental that evokes a cinematic scene. Brief and chilling, it acts as a pause before the next onslaught.

V. The Black Goddess Rises – 6:48

A fan favorite. Evokes ancient rites, with female divinity at its core. Long and dramatic, shifting between tempos.

VI. One Final Graven Kiss – 2:15

A short interlude with cello, keyboards, and subtle percussion. Gothic and sorrowful, it sets up the next act.

VII. A Crescendo Of Passion Bleeding – 5:30

One of the most violent tracks, yet it's strangely poetic. Lyrics about betrayal, lust, and martyrdom.

VIII. To Eve The Art Of Witchcraft – 5:28

A tribute to the feminine archetype of rebellion. Strong blackened riffs, ghostly keyboards, and eerie backing vocals.

IX. Of Mist And Midnight Skies – 8:10

The longest song. A slow, atmospheric beginning opens into a relentless cascade of riffs and ritualistic rhythms. A dark journey.

X. In Secret Love We Drown – 1:29

A ghostlike interlude. The calm before the final storm.

XI. A Dream Of Wolves In The Snow – 2:10

Features guest vocals by Darren White (Anathema). A cold, poetic track, brief but effective.

XII. Summer Dying Fast – 5:39

An aggressive closer and diachronic anthem. There’s urgency in the riffing and a sense of collapse. A fitting end to a dark tale.

XIII. Imperium Tenebrarum (Hidden Track) – 0:49

This outro delivers a spoken manifesto with venom and certainty. Rather than fading quietly, the album closes with a call to arms.

The DSR digibook CD version is luxurious and well-researched. It includes a thick 20-page booklet, new liner notes by Olivier ‘Zoltar’ Badin, rare photos, and a visual presentation that respects the album's origin. This is the definitive version to own, both in terms of sound and visuals.

Whether you're discovering it for the first time or revisiting an old favorite, this reissue of “The Principle Of Evil Made Flesh” is an important release in the history of extreme music. It preserves the rawness and romanticism that made it stand apart in 1994, and it does so with care, respect, and sonic authenticity.

Score: 9.0

Cradle Of Filth | The Screaming Of The Valkyries | Napalm Records

 

Cradle Of Filth, formed in Suffolk, England in 1991, emerged from the early 1990s black metal movement but quickly carved a unique identity with a theatrical and gothic-infused take on extreme metal. Led by the ever-recognizable Dani Filth, the band became known for its elaborate lyricism, layered orchestration, and dramatic stage presence. Their early works such as “The Principle Of Evil Made Flesh” (1994), “Dusk And Her Embrace” (1996), and “Cruelty And The Beast” (1998), became defining releases in the blackened gothic metal sphere. Over three decades, the group has shifted lineups and flirted with symphonic, thrash, and melodic elements, maintaining relevance across different eras while courting controversy and cult-like loyalty. As of 2025, Cradle Of Filth remains one of the most instantly recognizable and enduring names in extreme metal.

"The Screaming Of The Valkyries" finds Cradle Of Filth pressing forward while drawing heavily from their own haunted past. The production by Scott Atkins is heavy and atmospheric without sounding overworked. The performances are locked in—the dual guitar attack of Ashok and Donny Burbage carries both ferocity and finesse, while Zoe Federoff's keyboards and vocals bring a dynamic balance of melody and darkness.

Dani Filth's vocals are definite, ranging from his banshee wails to guttural snarls, still sharp after decades of stylistic evolution. The album’s tone jumps between high-speed aggression, brooding gothic swells, and mid-tempo heavy metal passages. Some moments lean into pure blackened energy, others echo the melodic sorrow of doom-tinged metal, and occasionally, more traditional heavy metal tropes surface without feeling out of place.

Tracks such as "To Live Deliciously" and "Ex Sanguine Draculae" stir memories of their mid-to-late 90s sound, while "White Hellebore" and "You Are My Nautilus" reflect a simpler, more direct songwriting approach without losing theatrical flair. The album feels self-contained yet familiar, never veering too far from what longtime listeners would expect.

While the record draws from many eras of Cradle Of Filth's past, it does not feel trapped by them. There’s an unmistakable sense of continuity and control here. No single member dominates the mix; instead, the band operates as a unit, crafting songs that are compact but still layered. The album flows well, never sagging under its own ambition, and avoids overindulgence that sometimes haunted past works.

"The Screaming Of The Valkyries" does not attempt to reshape the band’s legacy. Instead, it affirms their place in modern extreme metal with confidence and purpose. It’s an album built for fans, both old and new, and a testament to endurance in a genre that rarely forgives stagnation. A strong, cohesive entry in the band’s long career that balances familiarity with just enough progression to stay relevant.

Score: 8/10