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 / Cryptoriana – The Seductiveness of Decay (2017)

UK’s most visionary and hellish outfit returns with another blast of malignancy and eroticism in the form of the twelfth studio album in their undisputed career.

After their 2015 majestic and imposing album Hammer Of The Witches, British Extreme Metal institution Cradle of Filth had the arduous task of maintaining such high level of malignancy, electricity and eroticism in their brand new opus, stylishly titled Cryptoriana – The Seductiveness of Decay, the twelfth studio album in their undisputed career. Despite not being as fantastic and cohesive as its predecessor, Cryptoriana – The Seductiveness of Decay still brings forward the classic sound by Cradle of Filth we all learned to love through the years, solidifying even more their already distinguished reputation among fans of extreme music.

The band’s iconic mastermind and vocalist Dani Filth said the album “is deeply infused with Victorian gothic horror and thus the title is a reflection of that.’Cryptoriana’ implies the Victorians’ infatuation with the supernatural, the grave and the ghoulish. And the subtitle, ‘The Seductiveness of Decay’, further cements this attraction to death and the glittering lengthy process of self-annihilation”. In addition to that, one very interesting fact about Cryptoriana – The Seductiveness of Decay is that this is their second album in a row with the exact same lineup, which for an ever-changing band like Cradle of Filth is a huge milestone. The artwork was also created by the same artist from Hammer Of The Witches, Latvian designer Arthur Berzinsh, and form that you can have a very good idea of how similar both albums are visually and musically speaking, although as aforementioned the band had an almost impossible mission to surpass Hammer Of The Witches in regards to its exceptional quality.

Exquisite Torments Await can be considered a 2-minute “expanded” intro, showcasing demented and dark noises together with the band’s characteristic melody and potency, already bringing forward their usual blast beats and devilish orchestrations. Well, Dani’s first high-pitched scream says it all. The following tune, the first single of the album titled Heartbreak and Séance, kicks off at full speed with the gentle but powerful guitars by both Richard Shaw and Marek “Ashok” Šmerda bringing balance to the havoc led by the flammable Dani and the insanely talented drummer Martin “Marthus” Škaroupka. In other words, it’s classic and modern Cradle of Filth united in a solid and exciting manner (and don’t forget to check the uncensored version for its official video, it’s definitely worth it). And in Achingly Beautiful, an esoteric beginning quickly explodes into Cradle of Filth’s unique Black Metal, feeling like two or three songs in one due to its complexity and all breaks and variations, with the keyboards by Canadian beauty Lindsay Schoolcraft generating an amazing vibe in the background, not to mention her always pleasant backing vocals.

The main riff in Wester Vespertine reminds me of some of the guitar lines from their 1998 cult album Cruelty and the Beast, more specifically from the classic “Thirteen Autumns and a Widow”, proving Dani knows how to blend the past, present and future of his band in a very cohesive manner. Moreover, Marthus continues his sonic onrush with his potent and unstoppable beats and fills, enhancing the song’s potency considerably. Then it’s time for Richard and Ashok to lead the epic intro in The Seductiveness of Decay, before the band speeds up the pace delivering a neck-breaking, smashing tune tailored for both old school fans and newcomers to the world of Cradle of Filth. Dani has an absolutely flammable performance with his demonic growls and screeches, with the music becoming a symphonic devastation halfway through it with highlights to the awesome solos by Richard and Ashok. And featuring Liv Kristine as a guest vocalist (turning it into some sort of “beauty and the beast” duo with Dani), Vengeful Spirit maintains the album at a high level of seductiveness, vileness and darkness, with Marthus being totally diabolical on drums whereas Lindsay continues to deliver delicate and whimsical key notes to bring more balance to the music.

Despite bringing the trademark wicked lyrics by Dani (“Purring the sweet tempered soughing / Of lucrative Savannah wind / Stirs the great flotsam of clouds that are vowing / To usher the evening in / Affecting the set of the reckoning sun / From burnished gold to crimson hue / Before this night is quite sorely undone / The Devil is coming for you”), You Will Know the Lion by His Claw doesn’t sound as inspired as the rest of the album, presenting generic guitar lines and no gripping moments at all; whereas a beyond imposing beginning, full of symphonic elements, opens the gates of hell for Dani and his bandmates to blast the mysterious and funereal tune Death and the Maiden. Furthermore, a somber shadow remains above the band from start to finish, with Dani spearheading the musicality with his satanic growls, while Marthus and Lindsay craft a truly powerful atmosphere with their respective beats and keys until the song’s hellish finale.

And if I were you I would certainly go for the special edition of the album, which contains two amazing bonus tracks that are worth your additional investment. The first one, named The Night at Catafalque Manor, brings more of Cradle of Filth’s renowned Symphonic Black Metal, with highlights to its amazing orchestrations and the rumbling bass lines by Daniel Firth. Then closing the limited edition we have a flawless cover version for Annihilator’s biggest classic Alison Hell (if you’re from another planet and has never listened to the original version, you can take a shot at it HERE), from their 1989 cult album Alice in Hell. This is indeed a superb tribute to this Canadian institute, and Dani simply nailed it like what he did in the past with other all-time metal hits like Iron Maiden’s “Hallowed Be Thy Name”, Slayer’s “Hell Awaits” and Venom’s “Black Metal”.

Dani and his Cradle of Filth still have a lot of fire to burn in their career, and Cryptoriana – The Seductiveness of Decay is a strong statement that they’re still relevant to the world of heavy music, being capable of producing excellent material year after year. Simply visit Nuclear Blast’s official webstore to pick your version of the brand new album by UK’s most visionary and hellish outfit in the history of extreme music, and be more than prepared for when Dani and his devilish horde take your city by storm with their live performances (if they haven’t done so yet).

Best moments of the album: Heartbreak and Séance, The Seductiveness of Decay and Alison Hell.

Worst moments of the album: You Will Know the Lion by His Claw.

Released in 2017 Nuclear Blast

Track listing
1. Exquisite Torments Await 2:15
2. Heartbreak and Séance 6:24
3. Achingly Beautiful 7:02
4. Wester Vespertine 7:24
5. The Seductiveness of Decay 7:38
6. Vengeful Spirit (feat. Liv Kristine) 6:00
7. You Will Know the Lion by His Claw 7:22
8. Death and the Maiden 8:48

Limited Edition Digipak/Vinyl bonus tracks
9. The Night at Catafalque Manor 7:31
10. Alison Hell (Annihilator cover) 5:01

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

Guest musician
Liv Kristine – female vocals on “Vengeful Spirit”