Review Summary: Once again, Cradle of Filth has proven that they never write the same album twice, breaking creative ground with each output. Thornography is a powerful throwback to their love of rhythmic thrash metal while written in Cradle’s infamous brutal style.
Thornography isn’t an album that can be synopsized easily. The origins of the album, while unique in their own rights, are both painfully obvious yet overwhelmingly subtle. Cradle of Filth has managed to combine the brutality of
Midian and
Damnation and a Day with their prevailing trademark atmosphere and
Nymphetamine style melodies. However, while drawing obvious influence from their own work,
Thornography brings forward some completely new facets that will have devoted Cradle of Filth fans drooling over their CD players. The album throws forward some powerfully rhythmic riffs and dynamic musical technicality laced with unfamiliar methods of achieving extreme gothic metal with defined symphonic melody.
At its core,
Thornography is based around Cradle of Filth’s traditional sounds that maintain their own voice and expertise. The album commences on a familiar note with the intro track
Under Pregnant Skies She Comes Alive Like Miss Leviathan, easily one of their most epic and captivating since
At the Gates of Midian. It flows directly into
Dirge Inferno, a fast, aggressive song reminiscent of
Gilded Cunt intertwined with harsh
Midian-esque harmonies and recurring bass breaks. While feeling like a nostalgic trip from Cradle’s most brutal days, it’s evident that they weren’t playing games when Dani Filth foretold the album to be “really rhythmical - thrashy, almost”. Songs such as
Libertina Grimm are built almost entirely around brutal riff patterns. The same applies to
Lovesick for Mina, a deceptively tame title for such a hard-hitting battle hymn.
However,
Thornography soon proves itself a Pandora’s box full of enigmatic distinctiveness and satisfaction. Complete with the perfect amount of slower, spacey, melodic ambient sections to alternate the unrelenting rhythmic brutality of the album,
Thornography is a record built for banging heads and discerning musicality. Lead guitar has taken the center stage, as Paul and Charles go beyond their usual array of melodic harmonies into the realm of abundant metal shredding. Frantic guitar outbursts beautifully complete the intense ensembles of such songs as
Tonight in Flames and
I am the Thorn. Taking their arrangement of technical specialties even further is
Rise of the Pentagram,a track that lumbers menacingly for seven minutes after a gloomy spoken introduction, loaded with epic riffs, serene orchestration, dark piano, and alluring guitar harmonies.
Other brand new elements made their way onto
Thornography without such unanimously positive anticipation. Only speculation could tell how
Byronic Man would measure up, featuring guest vocals from none other than Ville Valo of HIM. Similarly,
The Foetus of a New Day Kicking contains pleasing segments built on clean vocals by Dani Filth himself, the first time a Cradle of Filth song has ever included pure clean singing by the band’s own. Once again, Cradle of Filth have made themselves a force to reckon with and broke new ground in their own league by mastering both fronts. Valo’s performance in
Byronic Man was minimal yet noticeable and provided a wonderfully gothic touch to the end of such an eclectic song.
The Foetus also solidifies Dani to be an incredibly versatile metal vocalist, as his clean voice appears surprisingly smooth and pure throughout his shocking emergence.
It would be entirely plausible to say that
Thornography is an album that pleases both existing Cradle of Filth fans and those who were formerly skeptical of them. From tracks in the vein of
Dirge Inferno, with its no-nonsense heavy metal approach, to
Under Huntress Moon, containing memorable female singing and symphonic movements strongly resembling Dimmu Borgir,
Thornography is quite an assortment of styles that Cradle of Filth has mastered during the course of their extensive 15 year career. The only notable flaw in the album spawns from the song
Temptation, which features guest vocals by Harry, formerly of Dirty Harry. Luckily for Cradle, said song is a cover of classic English synth poppers Heaven 17, so some leniency can be granted. Especially considering that
Thornography is over a full hour of skull-crushing riffs, entrancing melodies, diverse vocal performances, and innovative musicianship. Forgetting any pre-conceived notions that metal fans may have of Cradle of Filth, the band has manages to successfully keep themselves exceptionally original, even after nine albums.
Highlights:
- Brutal metal with hammer-like rhythms and sweet technicality
- Beautifully melodic and atmospheric
- Experimental without transforming their definitive sound
- An impressive assortment of performances
Recommended tracks:
- Libertina Grimm
- I am the Thorn
- Lovesick for Mina
- The Foetus of a New Day Kicking
Once again, it’s exceedingly difficult to select choice tracks for this album. It’s very long and virtually everything on it is good. Any song except ‘Temptation’ could’ve gone on that list, so listen and decide for yourself. Enjoy!
