Like many metalheads of my generation, Cradle of Filth‘s name invokes a mix of nostalgia and disdain. Yes, I cut my underground metal teeth on Dusk and Her Embrace, but was then quickly found way to other bands that were more interesting and mature. More worthy of championing despite Cradle of Filth‘s irritating grip on mainstream ideas of what underground metal was. As such, I went whole decades more or less ignoring them. Now that I am older and less minded of such things, The Screaming of the Valkyries seemed a good chance to reintroduce myself to the band. My first reaction was to be thankful that while the Valkyries might be screaming, time has sanded off the irritating edges from Dani Filth‘s vocals.
My second was to think about why I hadn’t listened to more Cradle of Filth.
That’s both positive and negative. The Screaming of the Valkyries is a well-executed blast of catchy, escapist bombast that stands up to multiple listens. In particular, I can’t help but think how after many reviews complaining about overambitious writing and poor structure, Cradle of Filth‘s songwriting drags my attention back time after time. The thing is while I’m a sucker for catchy, escapist bombast. Something about Cradle of Filth still catches in my craw, something I couldn’t immediately place. Hence them having to regain my attention. That’s one part a preference for a slightly grimmer or more melancholic tone of music and one part the sprinkling of big headbanging riffs for big venues that don’t do it for me sitting on the couch. And I suppose part of it may just be trace elitism about Dani Filth and his bunch of merry deviants, but it’s mainly the first two.
Despite not being quite the target audience, The Screaming of the Valkyries is filled with good things. Marthus’ drum work is energetic and intelligent, propelling forward tracks like “Ex Sanguine Draculae” that might otherwise fall flat. The trad influenced leads of Ashok (Root) and recent recruit Donny Burbage (Aether Realm) shine on songs like “To Live Deliciously” and “You Are My Nautilus” and provide much of the album’s hookiness. I wish they’d feature Zoe Marie Federoff‘s vocals more as they provide an appealing gothic beauty and the beast contrast with Dani, as on “White Hellebore”. Pull all of those elements together, as they do on the downbeat “Non Omnis Moriar”, and you have a certified banger.
There’s too many of those big symphonic arena riffs that don’t work for me to get really excited by The Screaming of the Valkyries, but otherwise this is pure entertainment. It’s going to make Cradle of Filth‘s fans happy and it’ll bring some more in. And for all my quibbles, I’ll probably be one of them. That’s because when I ignore all the surrounding noise, Cradle of Filth do catchy, escapist bombast as well as anyone, and The Screaming of the Valkyries is the proof.
