On February 24, 1994, Cradle of Filth made their mark on the music scene with their studio debut album entitled ‘The Principle of Evil Made Flesh’ on Cacophonous Records; which followed three demos and split with Malediction that ranged from 1991 to 1993. While some mark this as black metal, that isn’t quite correct, yeah, it’s going to be a murky subject, the music at times leans heavily into that direction but it’s actually more of a gothic extreme metal band; though clearly it is very raw sounding more than any of their other albums. For some there’s the clear indication love affair with demonic devilish deeds in the lyrics and that lack of professionalism slickness likely due to budgets and simple inexperienced in production qualities. Listening to this first album, a clear influence from other bands, namely Bathory and Venom but elements of the goth world drift through from classical infused keyboards, atmospheric synths, female vocals with romantic vampirism meets the sadomasochism of Pinhead of Hellraiser fame to balance occultism.

The opening track “Darkness Our Bride (Jugular Wedding)” is instrumental, with the words {Agios o Satanas} whispered in gothic tone, by backing vocalist and the band’s Satanic advisor Andrea Meyer, translated to Holy Devil, which showcases the work of keyboardist Benjamin Ryan. She worked to provide lyric references regarding Satan, Satanism, and anti-religious expressionism. After that brief opening the main title song of the album clearly announces its arrival, with intense screams of vocalist Dani Filth, some which echo the sheer unbridled intentions of black metal, then two minutes into the song a brief utterness of spoken German lyrics. “The Forest Whispers My Name,” showcases the incredible talent of drummer Nicholas Barker, it’s this sound that would reoccur in later releases by the band, though not always with that same intense drum-beat, It is a song the generates thoughts of classic horror atmosphere building throughout a haunting track. A clear influence of doom music heard in the styles from Paradise Lost and even more so a nod to My Dying Bride and brief Slayer infused riffs. “The Black Goddess Rises” begins oddly enough a deeper piano start before launching into a long scream of Dani’s style and then into gothic and swaying back to black metal intensity, and abrupt switch once more presentation gothic sweeps, not what a purist of the Black Metal scene ideally seeks. I have always felt that songs “A Crescendo of Passion Bleeding” and “To Eve the Art of Witchcraft” are fittingly placed well on the album, mainly thanks to Barker’s continue assault with some mixture of change-ups, and rather than just pounding on the drum to make a repetitive sound. The Witchcraft track continues the onslaught musically and with ferocious guitar work from both Paul Allender and Paul Ryan layered over some solid synth. The second half of the song would sound like Theatre of Tragedy, again noting the emerging of this music was incorporating so many different styles and genres.

For example, the next song “Of Mist and Midnight Skies” beginning invokes sounds of Bach’s legendary composition entitled Toccata, skillfully performed by Benjamin has any classic horror thinking of Hammer Studios gothic films. Then spoken gothic vocals start the track before presenting a mix of vampiric and satanic lyrics. “In Secret Love We Drown” is the third and last instrumental track of the album, and frankly it is very unnecessary, sounds of running water in perhaps a brook. “A Dream of Wolves In The Snow” begins with a quote from Bram Stoker’s Dracula novel which incorporates plenty of gothic themes, and an atmospheric start with a bit of doom qualities to it, however “Summer Dying Fast” is the true concluding song of the album as the final track is more of a spoken composition with a hidden call to action theme. But this twelfth song allows every member of the band to deliver the goods for the listener.

Clearly the sounds of shrieks and screams, to some might sound as if someone is possessed but are the rawest Dani shall be on any of their future records, some of it, likely due production. Meanwhile, the album with blasting drumming and complexity in guitars works well with the atmospheric overtures and representation of all gothic influences.

Track Listing:

Darkness Our Bride (Jugular Wedding)
The Principle Of Evil Made Flesh
The Forest Whispers My Name
Iscariot
The Black Goddess Rises
One Final Graven Kiss
A Crescendo Of Passion Bleeding
To Eve The Art Of Witchcraft
Of Mist And Midnight Skies
In Secret Love We Drown
A Dream Of Wolves In The Snow
Summer Dying Fast
Imperium Tenebrarum

In retrospect this album, now 30-years old was an original primitive design of the band’s first true efforts, though with band members leaving shortly after its completion the band would venture in a new direction, leaving behind the rawness. While the debate still rages on, about the exact placement of this album in the landscape of early black metal influence it gave way to gothic dark imagery with nods to horror, seductive vampirism and some commercialism that would later follow other releases. As for myself there was hints of death meeting doom metal, and obviously gothic extreme metal prevailed, but it’s not black metal; yet still thoroughly entertaining for all the blending of styles and genres.

Baron’s Rating: 4.5/5.0

Band’s Links:

https://www.facebook.com/cradleoffilth

https://www.cradleoffilth.com/

https://www.instagram.com/cradleoffilth/

https://www.youtube.com/user/cradleoffilthtv

Label Link:

https://cacophonousrecords.bandcamp.com/

* For the curious the cover is a stock image is from Nigel Wingrove’s horror film company’s Redemption, who also owns Salvation Films.