Cradle of Filth have always been one of those bands that strongly polarises opinion. Extreme metal accompanied by orchestral theatrics, laced with themes of horror and Shakesperean-style lyrical content is not quite to everyone’s tastes. However for those of you who like a side of gothic renaissance grandeur with their metal, you’re in for a real treat here as Hammer Of The Witches truly delivers on all fronts.
Returning with yet another new lineup and somewhat of a creative rebirth, CoF’s eleventh opus is a grandiose, extravagant epic that takes the listener on a dark and exhilarating journey. Everything from the album concept (in a nutshell, the revenge of persecuted witches from Medieval times) to the artwork is meticulously thought out as always. You’d think after eleven albums, they’d be running out of ideas by now, but this album proves that is not the case. Quite the contrary, Cradle of Filth are at their creative peak and show no signs of slowing down any time soon.
Opening cinematic overture ‘Walpurgis Eve’ sounds like something from Danny Elfman‘s composition book. Lavishly and beautifully orchestrated, it lulls the listener into a false sense of aural security, before exploding into a full throttle metal assault with first track ‘Yours Immortally’. Head-cavingly heavy and unceasingly intense, it features incredible kickdrumming at a furious pace by sticksman Martin Skaroupa and is characterised by Dani Filth‘s unmistakeable high-pitched howl.
This album sees Cradle of Filth return to the twin-guitar bombast of past glories ‘Dusk and Her Embrace’ and ‘Midian’, showcasing the utterly brilliant guitar work of new recruits Richard Shaw and Marek “Ashok” Šmerda, underpinned by Daniel Firth‘s deliciously thick basslines. ‘Enshrined in Crematoria’ has a gallant and addictive riff followed later by a guitar solo that will leave even the most miserable of metalheads grinning with glee. Other highlights include the atmospheric ‘Blackest Magic in Practice’ and single ‘Right Wing of the Garden Triptych’, which feature operatic vocals from singer/keyboardist/harpist Lindsay Schoolcraft and exhibit Cradle of Filth at their theatrical and melodramatic best.
On Hammer Of The Witches, Cradle of Filth stay true to their fundamental aesthetic but still manage to sound fresh and exciting at the same time. It’s a thrilling ride from start to finish, and by the closing strains of ‘Blooding the Hounds of Hell’, you’ll be left astounded, in awe and reaching for the replay button.
