Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 03/27/2019)

One year after storming Toronto with their Cryptoriana World Tour for the first time, the one and only Cradle of Filth returned for another fantastic round of blasphemy, darkness and seductiveness.

OPENING ACT: Raven Black

First of all, I would like to ask anyone to explain to me why WEDNESDAY 13, the Hollywood-based Gothic/Dark Metal band led by Murderdolls’ frontman Joseph Michael Poole (aka Wednesday 13), didn’t open for the almighty Cradle of Filth last night at The Opera House like they’ve been doing together with Los Angeles-based Gothic/Dark Metal unity RAVEN BLACK during this second round of the Cryptoriana North American tour, nicely named CRYPTORIANA WORLD TOUR 2019 – THE SECOND COMING OF VICE. All websites showed Raven Black scheduled for 7pm, Wednesday 13 for 7:45pm and Cradle of Filth for 8:55pm, but what actually happened last night in Toronto was a huge (and tedious) delay that ended up with Raven Black playing at 7:45pm and Cradle of Filth at 8:55pm, with no sign of Wednesday 13 at all nor any communication from the venue or the organizers. Unless they played at 5pm when no one was there to watch them, or if they wanted to make a very bad joke with their own name saying they were “late” two weeks (as yesterday was Wednesday 27), there’s no official reason for their absence. Can anyone out there explain to me what happened, please?

Anyway, without Wednesday 13, Raven Black was left with the always demanding duty of warming up the fans at The Opera house for another night of wicked, sulfurous and dark metal music. Comprised of the stunning, talented and very sympathetic Raven on lead vocals, The Doctor on lead guitar and backing vocals, Stitches on bass and Muppet on drums and harsh vocals (plus another mysterious, unnamed guitarist who would go on and off stage depending on the song played), Raven Black put on a great show, entertaining the fans avid for the more extreme music by Dani Filth and his horde. Still promoting their 2018 album 13, Raven Black played a fairly different setlist from the ones of this same tour, either by changing the order of the songs or by adding new ones, such as their brand new single named Carnival (a very good song, by the way), probably due to Wednesday 13’s cryptic absence. And it was impossible not to keep your eyes turned to the darkly, darkly sexy Raven, who delivered a very entertaining performance impersonating an evil doll with a special artifact per song, including a hula hoop, handcuffs and a giant teddy bear. My favorite songs of their concert were Dollhouse and Twinkle Twinkle Little Scars, and if you also enjoy this type of freakish, circus-inspired metal music, go take a look at their BandCamp page not only to purchase those two songs but their entire (short but already solid) discography.

Band members
Raven – lead vocals
The Doctor – lead guitar, backing vocals
Stitches – bass
Muppet – drums, harsh vocals

CRADLE OF FILTH

After a short break it was time for British Extreme Metal warlocks CRADLE OF FILTH to haunt The Opera House once again for our total delight, still promoting their 2017 album Cryptoriana – The Seductiveness of Decay, almost exactly one year after their 2018 concert in the city, coincidentally also on a Wednesday night. The setlist was very close to their previous one, with a few changes to some of the songs such as the removal of Beneath the Howling Stars and The Death of Love and the inclusion of Nemesis and Honey and Sulphur. I love all those songs, so I was more than fine with those changes as it’s always a pleasure to see a fantastic band like Cradle of Filth playing different songs live, but there was one huge “mistake” made by the band, which was NOT closing the show with the all-time classic From the Cradle to Enslave. Sorry, Dani, but I can’t forgive you for that even after seeing your Instagram post where you say you were quite sick last night (so sick he said they dropped Saffron’s Curse instead of From the Cradle to Enslave). Just kidding, of course.

Anyway, I can’t get tired of watching Dani growling like a demonic beast (even when he’s under the weather) while his bandmates make sure the atmosphere remains as obscure, devilish and aggressive as possible, with one of the nicest keyboardists in the world, Lindsay Schoolcraft, and the unstoppable guitarist Richard Shaw providing an extra touch of delicacy and madness to the show, respectively. Richard didn’t stop jumping up and down, spinning around, spitting and urging the crowd to go crazy into the circle pit, and all that while at the same time he was flawless with his riffs and solos. That’s what I call a true metalhead, my friends, providing Dani some effective support and relief due to his illness. If you were there, I bet their performance during the unparalleled 10-minute infernal beast Bathory Aria left you completely disoriented. That says it all.

In the end, although we didn’t have Wednesday 13 for some unknown reason, it was indeed another amazing night of Extreme Metal, with Raven Black and specially Cradle of Filth, of course, showing Toronto everything they got. When all was said and done (and after all the devastation the fans were promoting inside the endless circle pit in the center of the venue), everyone had a huge smile on their faces, and not even an exhausting day at work (like the one I had) could stop the crowd from enjoying the concert to its fullest. Furthermore, there were several amazing Cradle of Filth shirts being sold by their crew or worn by the fans as usual, but there was a guy wearing a very specific one that caught my attention, where in the back it said “DANI FILTH LOVES YOU”’. Well, how can we argue with that? He surely loves Toronto, and Toronto loves him and his iconic band back. That is pure, mutual respect and admiration that makes them come back to the city again and again. Hence, it’s been just less than a day after the concert was over, but I’m already eager to see the mighty Cradle of Filth possessing our souls once again here in our beloved Toronto.

Setlist
ACT I
Ave Satani (Intro)
Gilded Cunt
Nemesis
Right Wing of the Garden Triptych
Heartbreak and Seance
Bathory Aria: Benighted Like Usher / A Murder of Ravens in Fugue / Eyes That Witnessed Madness
Wester Vespertine
Dusk and Her Embrace
You Will Know the Lion by His Claw
Creatures That Kissed in Cold Mirrors (Interlude)

ACT II
A Bruise Upon the Silent Moon (Intro)
The Promise of Fever
Saffron’s Curse
Nymphetamine (Fix)
Honey and Sulphur
Her Ghost in the Fog
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 04/11/2018)

Four American boys, four Ukrainian metallers, a multi-cultural Extreme Metal institution and endless mosh pits. That’s what Toronto got in another memorable night of heavy music.

OPENING ACTS: Uncured and Jinjer

My neck and back still hurt today, and I don’t think it’s (just) because of my age, but because the three bands that hit the stage at the small but flammable The Opera House this Wednesday night in Toronto kicked some serious ass from start to finish, igniting nonstop circle pits during the whole night and, as a consequence, making every single fan at the venue more than happy to have spent a few good bucks on their concert tickets. It might be taking a while for the weather in Toronto to warm up in this beginning of spring, but the temperature inside The Opera House on Wednesday was definitely as hot as the fires from the depths of hell for another night of the CRYPTORIANA WORLD TOUR NORTH AMERICA 2018 with the bands Uncured, Jinjer and, above all, the majestic Cradle of Filth.

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

After having two slices of pizza in order to properly face the hurricane of metal music that was about to come, I headed to The Opera House (which by the way seemed to be sold out) to enjoy the first band of the night, the technical and heavy American Progressive Death/Groove Metal UNCURED. Formed in 2014 in New York City, the quartet comprised of brothers Rex and Zak Cox sharing the vocals and guitar duties (and before you ask, they’re not twins), Jon Kita on bass, and Liam Manley on drums delivered a very solid performance on stage, still promoting their latest album Medusa, released in 2017 (which you can listen in its entirety HERE). Those boys didn’t stop headbanging and shredding not even for a single second, receiving a very positive feedback from the crowd already jammed in the floor section. This is the second time I saw Uncured live and they’re just getting better and better, pointing to a bright future ahead of them. From their setlist I highly recommend the songs Stygian Valley and Myopic (both from Medusa), and their brand new song Terminal, the best of their concert in my opinion. And lastly, I just want to send a quick message to the guy from the crowd that called them “Backstreet Boys”: they might be boys, but they’re talented metalheads, so shut up and try doing something useful for society like what Uncured are doing with their first-class metal music, right?

Setlist
Stygian Valley
Petrified
Myopic
Dilate
Persia (Spontaneous Regeneration alternative version)
Terminal

Band members
Rex Cox – vocals, guitars
Zak Cox – vocals, guitars
Jon Kita – bass
Liam Manley – drums 

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

After a short break it was time for an explosion of Metalcore made in Ukraine, courtesy of the sexy frontwoman Tatiana Shmaylyuk and her interesting band JINJER. If you’ve never heard of Jinjer, the band was brought into being in 2009 in the city of Horlivka, having already released a few interesting studio albums, like their 2014 opus Cloud Factory (reissued now in 2018, only a couple of years after its original release for reasons beyond my comprehension). Their concert was energetic and straight to the point, with Tatiana leading her henchmen and having a very good interaction with the fans. The only issue for me was the quality of the sound coming from the drums, which sounded during most of their set like the annoying “frying pan beating” sound from Lars’ drums in Metallica’s hideous St. Anger, but nothing that could stop the band and their fans from having a very good time. As I enjoy Tatiana’s deep, enraged growls a lot more than her clean vocals, my top moments of their concert were for sure Who Is Gonna Be the One (from their 2014 album Cloud Factory) and Captain Clock (from their 2016 album King Of Everything), not only warming up the fans at the venue for the main attraction of the night, but also urging everyone to jump up and down and break their necks just like what we always expect from a good Metalcore band.

Setlist
Prologue
Who Is Gonna Be the One
Words of Wisdom
Sit Stay Roll Over
I Speak Astronomy
Just Another
Pisces
Captain Clock
Outlander
No Hoard of Value
Bad Water
Beggars’ Dance

Band members
Tatiana Shmaylyuk – vocals
Roman Ibramhalilov – guitar
Eugene Kostyuk – bass
Vlad Ulasevich – drums 

CRADLE OF FILTH

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

One thing that always impresses me at The Opera House is the insane speed and very little amount of time the bands and their crew take to switch the whole equipment from one band to another, which is why we didn’t have to wait for too long for another superb, violent and blackened performance by British Extreme Metal institution CRADLE OF FILTH. Spearheaded by the iconic Dani Filth and promoting their latest opus, the excellent Cryptoriana – The Seductiveness of Decay, released in 2017, the band didn’t show any mercy on our souls, blasting some of their most visceral, complex and beautiful compositions from their unparalleled career that already lasts for impressive 27 years (and please don’t ask me how Dani can still growl and scream flawlessly like a demon after almost three decades). Well, when you open the show with songs like the aggressive Gilded Cunt and one of my favorite songs of all time, the masterpiece Beneath the Howling Stars, you know the whole concert will be brutal.

The rest of the band was also on fire, providing the perfect instrumental for Dani to thrive on vocals, in special the bestial drummer Martin “Marthus” Škaroupka behind his glass cage (not sure if that cage is for sound or security purposes), and Oshawa-own beauty Lindsay Schoolcraft, who once again could not hide her happiness for playing with Cradle of Filth in front of her very own people. She was fantastic throughout the entire concert, and didn’t even know how to thank the fans for such warm reception. Actually, it’s us fans who have to thank her for such awesome performance, embellishing classic tunes like The Death of Love, Nymphetamine and Her Ghost in the Fog with her powerful voice.

One of the highlights of the night was undoubtedly the execution of the 11-minute extravaganza Bathory Aria, a marvelous and intricate song I honestly never thought I would be able to witness them playing live. Dani explained they’re playing it as the start of the celebrations of 20 years of what’s in my opinion the best Cradle of Filth album of all time, their 1998 concept opus Cruelty And The Beast (and get ready, because Dani mentioned already they’re planning to release a very special 20th anniversary edition of the album). The brand new songs from Cryptoriana also worked really well, with Heartbreak and Séance sounding simply astounding live, proving once again that Cradle of Filth are a band that don’t just defy time, they kick it in the ass and keep delivering awesomeness album after album, year after year, for our total delectation.

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

One thing I really enjoy about Dani is how fun and somehow cryptic he always sounds when interacting with the crowd (and he knows we love that). When he’s in town, he always makes sure he praises his Canadian fans, he shows his respect for his supporting acts (demanding a huge ovation for Uncured and Jinjer for their excellent performances), and always finds time to make a peculiar joke about something very Canadian. I remember a few years ago when he said he loved getting to Canada during winter, as our Canadian winter is truly unique, and this time he mentioned a lot of times his admiration for Canadian professional tennis player Eugenie Bouchard. I have absolutely no idea why he mentioned “Genie” Bouchard and dedicated so many songs to her, as she has pretty much no connection to heavy music as far as I know. Apart from being a bombshell and for having lots of serious issues in her tennis career, I don’t see why Dani loves her so much. Well, maybe those are the two reasons why, right?

Anyway, after the classic From the Cradle to Enslave, and after almost two hours of nonstop, electrifying mosh pits (even during a dark ballad like Nymphetamine there were people crushing their skulls inside the pit like wild beats), the concert was over and fans could head home, have another beer, take pictures with the guys from Uncured and Jinjer, and start thinking how they would be able to work the following day after a true avalanche of high-quality extreme music, courtesy of four American boys, four Ukrainian metallers, and a multi-cultural outfit that knows better than anyone else in the world how to perfectly blend Extreme Metal with a theatrical performance, fantastic lyrics and endless energy and pleasure for being able to be on stage for all of us fans.

Setlist
ACT I
Ave Satani (Intro)
Gilded Cunt
Beneath the Howling Stars
Blackest Magick in Practice
Heartbreak and Séance
Bathory Aria: Benighted Like Usher / A Murder of Ravens in Fugue / Eyes That
Witnessed Madness
Dusk and Her Embrace
The Death of Love
You Will Know the Lion by His Claw
Creatures That Kissed in Cold Mirrors (Interlude)

ACT II
A Bruise Upon the Silent Moon (Intro)
The Promise of Fever
Nymphetamine (Fix)
Her Ghost in the Fog
Born in a Burial Gown
From the Cradle to Enslave
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

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Album Review – Cradle of Filth / Cruelty and the Beast (1998)

This is how any band in the world should record a concept album.

Rating1

410309-300Today is my birthday and I was thinking about which classic album that has helped define my musical taste should be reviewed. I could go for one of my favorite albums of all time, which would be Iron Maiden’s Powerslave, Judas Priest’s Painkiller or Slayer’s Reign in Blood, but instead I chose something more complex and unconventional: Cradle of Filth’s Cruelty and the Beast, a unique concept album dedicated to the legend of the serial killer Elizabeth Báthory, the “Blood Countess” from Hungary who tortured and murdered hundreds of young women in the 16th and 17th centuries, and who many believe used to bath in the blood of her victims to rejuvenate her skin like if she was a vampire. The story itself is inspiring enough for a really dark Heavy Metal album, and no other band rather than Cradle of Filth would have been capable of creating such a masterpiece.

I love the intro Once Upon Atrocity, not only because I’m totally fond of obscure intros like this one, but also because the thrilling transition to the amazing Thirteen Autumns and a Widow is beyond perfect. And what can I say about this song? Despite being probably too heavy and heinous for most of our society, it’s a mesmerizing chef d’oeuvre that no other band is capable of doing (not even the current Cradle of Filth is anymore).The drums and keyboards are terrific, providing the song a unique atmosphere. Then comes one of the band’s most famous tracks, Cruelty Brought Thee Orchids, which is not as fast as the first song, but it’s also excellent and has some very good riffs.

Cradle+of+Filth+Cruelty+and+the+BeastBeneath the Howling Stars was the first song I’ve listened to ever from Cradle of Filth, and until today it makes my day a lot better when I listen to it. From its horror movie-like intro in the keyboards to the chorus, it’s a perfect fit for the soundtrack to apocalypse. I know Dani cannot reach the same high-pitched notes anymore, but it’s still great to listen to this song and I hope the band adds it back to their future setlists. The next track, Venus in Fear, is an instrumental song that is not recommended at all to listen to with your parents or your little sister, while Desire in Violent Overture is another musical typhoon from this Extreme Metal band from England.

The Twisted Nails of Faith is one of my least favorite ones, which doesn’t mean it’s not a furious track (it’s not just as brilliant as the others), followed by what can be considered an “Extreme Metal Opera” called Bathory Aria: this 11-minute insanity starts in a melancholic way with Benighted Like Usher, evolves into a storm with A Murder of Ravens in Fugue, and finally ends with a poem-like part called Eyes That Witnessed Madness. I REALLY would like to see them playing this live one day, that would be a dream come true. The album ends with another instrumental song, Portrait of the Dead Countess (this one you can listen to with anyone around you, no problem), and the fast and heavy track Lustmord and Wargasm. And if you’re still alive after this infernal tsunami, it means you enjoyed it and you’re ready to listen to everything again and again.

All musicians in this album are awesome (including the guest musicians) despite none of them being with the band anymore except for Dani Filth, the mastermind behind Cradle of Filth. Well, he’s the main reason why Cruelty and the Beast is so good, because without him it would be just a regular album. Although Dani’s trademark voice was not as high as in their previous albums, he was singing like a demon, adding a lot of violence and despair to the musicality of the whole album. Not only that, the lyrics in Cruelty and the Beast are also as creative, evil and wonderful as always, this time even better due to the whole storyline involving Countess Bathory as the main character, and the front cover and the rest of the album art are the perfect finishing touch for it.

Cradle_Of_Filth-Cruelty_y_The_Beast_(Limited_Edition)-Frontal

Koch Records’ 2001 two-disc edition front cover

If you’re lucky enough to find the Koch Records’ 2001 two-disc edition bonus disc, you’ll be amazed by their superb covers of Iron Maiden, Venom and Sodom, bands with a high influence on Cradle of Filth’s music. The only bad thing about this bonus disc is the mix version for The Twisted Nails of Faith: I don’t like when a Heavy Metal song are mixed into some generic electronic song, and this one is not different from that.

Anyway, if you love Extreme Metal and a good story, you must listen to Cruelty and the Beast. Cradle of Filth might not be the best Heavy Metal band in the world, but this album helped redefine extreme music for sure and destroyed all the remaining boundaries between music and art for good.

Best moments of the album: Everything in this album is gold, but if I had to choose only a couple of songs they would be Thirteen Autumns and a Widow, Beneath the Howling Stars and Bathory Aria.

Worst moments of the album: None, unless I can choose a song from the Koch Records’ 2001 two-disc edition bonus disc, then I would say Twisting Further Nails (The Cruci-Fiction Mix).

Released in 1998 Music for Nations

Track listing
1. Once Upon Atrocity (Instrumental) 1:43
2. Thirteen Autumns and a Widow 7:14
3. Cruelty Brought Thee Orchids 7:18
4. Beneath the Howling Stars 7:42
5. Venus in Fear (Instrumental) 2:20
6. Desire in Violent Overture 4:16
7. The Twisted Nails of Faith 6:50
8. Bathory Aria (Benighted Like Usher/A Murder of Ravens in Fugue/Eyes That Witnessed Madness) 11:02
9. Portrait of the Dead Countess (Instrumental) 2:52
10. Lustmord and Wargasm (The Lick of Carnivorous Winds) 7:30

Koch Records’ 2001 two-disc edition bonus disc
1. Lustmord And Wargasm (The Relicking of Cadaverous Wounds) 7:58
2. Black Metal (Venom cover) 3:27
3. Hallowed Be Thy Name (Iron Maiden cover) 7:10
4. Sodomy & Lust (Sodom cover) 4:47
5. Twisting Further Nails (The Cruci-Fiction Mix) 5:33

Band members
Dani Filth – lead vocals
Stuart Anstis – guitars
Gian Pyres – guitars
Robin Graves – bass
Lecter – keyboards
Nicholas Barker – drums

Guest musicians
Sarah Jezebel Deva – backing vocals
Danielle Cneajna Cottington – backing vocals
Ingrid Pitt – Lady Bathory’s narration on ‘The Twisted Nails of Faith’ and Bathory Aria’s ‘Eyes That Witnessed Madness’