Cradle Of Filth – Evermore Darkly [2011]

Band: Cradle Of Filth
Album: Evermore Darkly EP
Release year: 2011
Genre: Extreme Gothic/Extreme Metal

Cradle Of Filth have been dubbed the most successful British metal band since Iron Maiden and have forever been the subject of controversy regarding their genre. Following the 2010 release of “Darkly, Darkly, Venus Aversa”, the new EP “Evermore Darkly” is the companion piece to the 2010 album release, featuring two new tracks and some alternative versions of some of the tracks from “Darkly, Darkly, Venus Aversa”.

The first track of the EP is none other than “Transmission From Hell”. It really does leave the listener wondering what the point in the track is as it’s nothing than the sounds of electricity and someone talking about copies of “The Sounds From Hell” – a hoax regarding Russian scientists and a supposed “well to hell”. “Thank Your Lucky Stars” carries on from “Transmission From Hell”, beginning with a typical Cradle Of Filth styled intro. The vocals are mediocre and weak sounding but you can easily tell that it’s Filth. The higher pitched screams of Filth sound very strained. The guitars favour melody over heaviness, not that that there is much melody in their playing. The drums are the part of the track that actually keep any sort of excitement flowing through in the music though the guitar solo does offer up some enjoyment for the listener’s ears.

The third track is the “elder version” of “Forgive Me, Father”, the final track from “Darkly, Darkly, Venus Aversa”. The guitars sound like fingernails being dragged down a chalkboard. Dani’s vocals don’t sound that much better compared to the album version of this song. One key difference is the female vocal sections being performed by Filth, which, put in the nicest way possible, is like being forced to listen to Black Veil Brides. The lack of keyboards gives the song a more raw feel but takes away the symphonic element that COF fans are used to.

The extended version of “Lilith Immaculate” follows after. The keyboard and orchestrated sections perhaps offer the most pleasurable sound to the listener’s ears as the vocals sound like Justin Bieber attempting metal. The female vocals sound oddly like those of Sarah Jezebel Deva’s, which is strange as she’s not been apart of COF since the recording of “Godspeed On The Devil’s Thunder”. The guitars don’t seem as aggressive as they could be. The long symphonic break halfway adds a faux-dark touch to the song before the guitars come back into the song. The guitar solo causes a flurry of exhilaration for the listener’s ears though it unfortunately, does not last long. The elder version of “The Persecution Song” is next. The song is virtually stripped of a lot of the symphonic elements, leaving a bare, raw sound of guitars, bass and drums mixed with the far-from-extreme vocals. The song is definitely better with all the symphonic elements included.

“Forgive Me, Father” makes another appearance on the EP, only this time it is the “I’m In A Trance” version. The listener will be in for a shock with this one as it is a trance remix of the original song. It’s weird how Filth’s vocals blend well with the music. The beats are very hypnotic and would definitely go down well in a rave of some description. So far, this one is the only decent track on the EP. Coming towards the end of the EP is the elder version of “The Spawn Of Love And War”. Like the elder version of “The Persecution Song”, this song has been stripped bare of most, if not all, of its symphonic elements except for the introduction leaving the song sounding barren. Filth’s vocals sound strained in several parts, leaving the listener disappointed. The guitars bring very little zest to the song as well.

The EP comes to an end with the orchestrated rendition of “Summer Dying Fast” which is the “Midnight In The Labyrinth breadcrumb trail” version. The song is better than what one would originally expect it to, containing emotions that haven’t haven’t been felt in a Cradle Of Filth song since the Midian era. For an orchestrated track, it is perhaps one of the darkest things ever put onto a Cradle release.

One can’t help but feel that “Evermore Darkly” was released for the sake of lining COF’s pockets some more, as well as the pockets of their label. The EP is a poor excuse for a release, being as bad as “Thornography”. If Stephanie Meyer were to release an album it would probably sound something like this – With faux-darkness and teenage depression included.


Nico Davidson

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