Having been in existence since 1991, English Dark Metal institution Cradle of Filth has just embarked upon the release of its sixteenth studio album. Entitled The Screaming of the Valkyries (out now via Napalm Records on March 21, 2025), the enduring vision of founding shriek-master Dani Filth has maneuvered its ever-changing troupe of leather-clad misfits out of the second wave of Black Metal through decades and passing trends, to emerge into the wastelands of the modern age not only unscathed but arguably stronger and more energized than bands half their age.
How they do it is simpler than it might seem. Take the lead single “Malignant Perfection,” with its illustrious gothic undertones and nocturnal atmosphere. The female vocal touches – courtesy of Zoe Federoff – bring fans right back to the stygian beauty of the Dusk and Her Embrace era of the band. The song is catchy and eminently singable. Furthermore, where it has to be, it is robust and direct. Dani Filth and his latest supporting cast, including Danny Burbage and Ashok on guitars, Danny Firth on bass guitar (no, that is not a joke, that is his actual name), and Martin “Marthus” Škaroupka on drums, knows how to build tension in a song. The breaks are punctuated with the tinkle of the keys and something Cradle of Filth always seems to craft – well-placed, excellent guitar solos.
The opener, “To Live Deliciously,” has a death metal and thrash vibe pervading its battery. It is not esoteric Black Metal – it is, however, rife with Dani’s poetic lyrics and a dedication to true, real Heavy Metal performance. Critics deride the band for being weak or frilly-goth lite, but for three damn decades, the Brits have delivered the heavy metal goods. Yours truly used to refer to them as ‘Black Metal Iron Maiden,’ and while this one is way more death/thrash in delivery, those melodic leads pay homage to the melodic guitar-lead masters themselves.
After its Slayer-esque opening, “Demagoguery” continues the melody meets heaviness vibe, with dancing keyboards evoking the best of that late ’90s cemetery goodness. The riffing during the verses is straight out of 1990, and that works very well with Dani Filth’s epic storytelling lyrics. The man drips with literary creativity, and the beautiful set of guitar leads at around the 4:00-minute mark are the chef’s kiss here.
The aforementioned Zoe Federoff soars during “White Hellebore,” with its catchy chorus sounding more Nightwish than “Night’s Blood.” Cradle of Filth does not lay back to let a clean vocal soften their approach, however. The sonic thickets surrounding Federoff’s stately lilt are thorny, thick, and heavy. “You Are My Nautilus” is another strong track, arguably one of the best on the album. Highly engaging, Judas Priest-esque riffing underpins a mean motherf*cker of a song that will have heads banging and mosh pits a swirl. Superb guitar solos abound, trading back and forth in an eminently satisfying fashion.
“The Trinity of Shadows,” with its wrist-breaking pace on the six strings, contrasts with “Non Omnis Moriar,” which is the calmest, most overtly beautiful song on the album. Cradle of Filth gives us a bit more of the orchestral touch here, reminiscent of that sweet-spot era of Therion while keeping the spite seething below the surface.
Though often lumped together with Black Metal and admittedly arising from that shadowy and evil genre, Cradle of Filth has remained an enriching listen because they have not been afraid to embrace certain strengths. The band sets their table with the candelabras, cloth, and finery of the corpse-painted milieu that inspired them, but beneath that tablecloth is a solid oaken table of Heavy F*cking Metal. The Screaming of the Valkyries is proof positive that even after all these years – hell, especially after all these years – Cradle of Filth plays dark and vibrant, theatrical music that never even once forgets that it came from Iron Maiden and Slayer as much as from Venom and Hellhammer. Sit back, enjoy the tale, and enter the graveyard . . . Cryptic Rock gives The Screaming of the Valkyries 4.5 out of 5 stars.
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