Rouge-filmed lips procure the wish for lust and her disgrace… – 95%
Slater922, August 25th, 2022
Written based on this version: 1996, CD, Music for Nations
The following review is written in honor of Stuart Anstis, who tragically passed away on August 21, 2022.
Cradle of Filth has came a long way from their early death metal years. Beginning with the debut “The Principle of Evil Made Flesh”, the band would gain a notoriety for their unique blend of symphonic black metal with some gothic influences thrown in the mix. But despite the praise for that album, some felt that it was a bit lacking. In 1996, however, the band would release their second album titled “Dusk and Her Embrace”, and any doubts that this next one would be weak were quickly smite by the brilliant songwriting this album showcases.
The album begins with the track “Humana Inspired to Nightmare”, an ambient song comprised of haunting and theatrical synths, setting the gothic darkness to come. This transitions to the next track “Heaven Torn Asunder”, where things get darker. The guitars aren’t the most prevalent, but they play some dark blackened goth riffs that are excellent at pushing forward a dark and epic sound. The drumming is also kind of slow, even with the blastbeats, but its technical patterns and even booming sound pushes the extremities of the atmosphere, with the blastbeats especially furthering the black metal elements. The bass is also very deep-tuned and follows the guitars decently, though it can feel a bit average at times. It’s the synths that truly give this album its distinct sound, with the haunting synths not only enhancing the gothic elements, but also enhancing the black metal riffs with its dark and creepy tune. Besides “Heaven Torn Asunder”, you also got tracks like “Funeral in Carpathia” and “A Gothic Romance (Red Roses for the Devil’s Whore)” that take on more depressive themes, whereas “Beauty Slept in Sodom” are more epic and even empowering at times. The instrumentals on the debut were good, but DAHE would go further with the gothic instruments, making the riffs, drums, and synths sound even stronger in return.
The vocals are also pretty good. Admittedly, Dani Filth’s vocals can be much at times, as his shrieking is extremely high-pitched and pushes the boundaries of how extreme black metal shrieks can really get. While I initially wasn’t a fan of the vocals when I first listened to this album, once I got used to them, I’d argue that they strengthen the album. A good example of this is in “Malice Through the Looking Glass”, which is one of the more upbeat tracks on this album. Dani’s versatile range between creepy whisper and crazed shrieks not only enforce the maddening atmosphere, but they also flow well with the guitars and synths and add in some anxious and disturbing themes within the gothic atmosphere. Sarah Deva and Danielle Cottington also work as the backing vocals, in which their eerie vocals also further enhance the gothic touches and also play off Dani’s wild vocals. Despite the unusual delivery, Dani’s vocals on this particular album are very good, and flow well within this extreme vibe.
And that’s not even getting into the lyrics, which are fantastic. Cradle of Filth has been known for their gothic tales, but in this album in particular, they can be disturbing at times. Check out the lyrics to “Haunted Shores” for example, where this verse quotes:
From the woods, Pendragon-born, I rose Arcturius
A proud, audacious king mantled in the vehemence of lust
Death and destiny undaunted me, I drew a throne divided
In awe of the glorious battles won, my dark Goddess provided
Here, Arcturius is being summoned in the middle of the woods. The verse is written in an old fashioned style, almost as if it were written in the Victorian era. That, plus a chant dedicated to Avalon near the end of the track, and the story of the haunted shore is enough to spook readers. Not only that, but when paired up with the symphonic instruments and Dani’s shrieks, these lyrics are even more creepy, with the gothic elements further enforcing the Victorian era writing style and the black metal elements intensifying the ritualistic moments of the story. On all of the songs with lyrics, they have some strong songwriting that is perfect for the gothic atmosphere.
In many ways, Dusk and Her Embrace can be seen as the album that got Cradle of Filth the popularity they deserved. Not only did it improved upon the debut, but it also blended symphonic black metal and gothic metal perfectly and even told some fantastic stories in the middle of it all. While most other COF albums have received high praise, DAHE remains a staple within the band’s discography that fans of black metal and gothic metal should listen to more often.
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