Ethereal Metal

Ryan Murray | Co-Owner | Chief Editor | Contributor | Photographer

r.m.music84@gmail.com

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Cradle of Filth’s ‘The Screaming of the Valkyries’ isn’t just another album—it’s a statement. A venomous, blood-drenched decree that after more than three decades, they’re not only still at the top of their game but are actively redefining it. From the blistering speeds and gothic grandeur to the sheer visceral energy packed into every note, this record is an intoxicating mix of everything that has made Cradle legendary.

And let’s be real—Cradle of Filth could have easily coasted at this stage in their career. They’ve already cemented themselves as one of extreme metal’s most important bands, but ‘The Screaming of the Valkyries’ proves they’re still as ravenous as ever. It feels both like a culmination of their past and a bold lunge into the future. The DNA of Dusk and Her Embrace and Midian pulses through its veins, yet it also harnesses the firepower of Hammer of the Witches and Existence is Futile—a seamless blend of eras that doesn’t rely on nostalgia but instead weaponizes it.

The album doesn’t waste a second before throwing you into the storm. To Live Deliciously is pure Cradle—breakneck tempos, thundering double bass, and Dani Filth’s infernal shrieks painting visions of wicked indulgence. But there’s something about the guitar work that feels… sharper. More layered. Burbage and Šmerda are at the peak of their craft here, twisting progressive elements into the band’s blackened whirlwind without ever losing that unholy groove. It’s the kind of track that demands a repeat play before the album even moves on.

Demagoguery shifts gears into something eerier, creeping in with whispering vocals and strings before unleashing absolute havoc. Blast beats rain down like hellfire, and Dani’s vocal gymnastics reach peak acrobatics, from his abyssal growls to his signature high-pitched wails. It’s a track that absolutely demands movement—one of those songs that, if played live, would turn any pit into a frenzy of flailing limbs and devil horns.

And then there’s The Trinity of Shadows, which takes that blackened thrash energy and injects it straight into the bloodstream. The chorus has this subtle, haunting choir effect that lingers just enough to send chills down your spine. Meanwhile, Daniel Firth’s bass lines slither and pulse with intent, while Martin Škaroupka’s drumming clings to your insides, proving once again that Cradle’s rhythm section is an absolute force to be reckoned with.

But the band doesn’t just thrive on chaos—they know how to pull back and craft something deeply atmospheric and brooding. Non Omnis Moriar slows things down, basking in its own ominous glow. There’s a mournful beauty to it, the kind that Cradle has always been able to channel when they want to, showing that sheer speed isn’t their only weapon. The guitars weep, the melodies twist, and suddenly, you’re caught in this melancholic trance.

Of course, White Hellebore brings the full fury back, lacing its blackened thrash attack with one of the album’s most infectious hooks. Zoë Marie Federoff-Šmerda’s ethereal vocals swirl through the mix like a ghostly whisper, adding an eerie contrast to Dani’s signature onslaught. And that chorus? Absolutely unforgettable. It’s the kind of song that sticks with you long after the album is over, creeping back into your head when you least expect it.

Then there’s You Are My Nautilus, which feels like a lost Iron Maiden epic dragged through a Cradle of Filth nightmare. Duel guitar leads weave through the chaos, and the chorus—“You are my nautilus, the scourge of the abyss”—is one of the most sinister yet oddly anthemic refrains they’ve ever delivered. It’s the kind of track that makes you step back and realize just how much Cradle still revels in pushing their own boundaries.

Malignant Perfection was our first taste of the album, dropped back in October like a Halloween offering, and man, does it still hit hard. The eerie synths, the haunting vocal layers—it all conjures that gothic horror aesthetic that Cradle has always mastered, while the riffs keep it anchored in pure metallic ferocity. It’s no wonder this track was chosen to lead the charge.

Then there’s Ex Sanguine Draculae, which might be one of the most evil sounding tracks Cradle has delivered in years. Dani’s gutturals sound like they’re clawing their way up from the depths, and just when you think it’s settling into a slower, ominous groove, the band shifts gears, launching back into full-speed insanity. It has the same kind of chaotic energy as From the Cradle to Enslave—relentless, vicious, and drenched in gothic grandeur.

And then we arrive at When Misery Was a Stranger. The closing track, the final descent into the abyss. If there’s ever been a song that exemplifies just how much Cradle still has left in the tank, it’s this one. The composition is haunting, grandiose, and—dare I say it?—one of their most ambitious album closers yet. Zoë’s vocals are given more room to breathe here, drifting between Dani’s demonic presence like a siren luring listeners deeper into the void. The song doesn’t just end the album; it leaves a lasting imprint, a shadow that lingers long after the final notes fade.

So, where does The Screaming of the Valkyries stand in Cradle of Filth’s legacy? Right at the top. This isn’t just another entry in their catalog—it’s a defining moment. A record that proves why they’re still the kings (and queens) of gothic extreme metal. After 34 years, they could have settled into a comfortable groove, but instead, they’ve sharpened their claws and unleashed an album that stands toe-to-toe with their finest work.

Cradle of Filth have never been ones to fade into the background. They don’t just exist in extreme metal—they dominate it. And with The Screaming of the Valkyries, they’ve once again staked their claim. This is Cradle at their most ferocious, most grandiose, and most alive.

This is a band that isn’t going anywhere.

VERDICT: 4.5/5