Review: Cradle of Filth @ The Gov
“If Tim Burton was to create a Shakespearean romantic tragedy film that required a gothic horror metal soundtrack, there is arguably only one band in this universe that could accomplish such a complex form of artistry: Cradle Of Filth.”
Words by Will Oakeshott // Images by Danny Wallace
Cradle Of Filth & Infected Rain @ The Gov 26/09/24
“Burning with dark inspiration” – ‘She’s A Fire’, Dani Filth, Cradle Of Filth 2023.
Just over five years ago, Suffolk’s prestigious extreme symphonic metal band Cradle Of Filth graced our shores celebrating their colossal record Cruelty & The Beast. Since that epic venture, not only have the sextet undergone their own changes, but the world also underwent drastic modification. Ironically the title of the six-piece’s third LP is fitting to describe these alterations, the “cruelty” understandably being the absence of CoF from Australia for such an elongated period due mostly to a virus. The “beast” could also be the pandemic in a comprehensive value; however, similar to how the gothic blackened metal tyrants have mutated in wonderous wickedness, the ‘Filth are more than suited to the “beast” title. They have remained as a marvellous monstrosity of metal music for over three decades; they are always: “burning with dark inspiration” – which necessitates their return.
These lyrics are in fact taken from one of the singles released from their 2023 live album Trouble And Their Double Lives (the very purpose of this tour was its celebration), and serves as a perfect mantra for the outfit’s artistic ambition. Eerily, this poetic statement also captured the aura of the entire event on this chilly Spring evening, and it was ‘Achingly Beautiful’.
The small nation of Moldova has a history that is to a degree, ‘Achingly Beautiful’, and although it is probably not very well known in the metal realm, alternative metallictronica hardcore quartet Infected Rain are the euphoric ensemble to act as its ‘Lighthouse’.
‘The Realm Of Chaos’ began the pandemonium and it was quickly established that this wasn’t an introduction for a club show. Infected Rain was in Adelaide to showcase their capability of performing at stadiums. Vocalist Lena Scissorhands was instantaneously animalistic, her bellowing growl almost predatory in its delivery while her dreadlocks circled in a tornado of her own making. Guitarist Vadim "Vidick" Ojog was the enticing enhancement of the storm; fluctuating between djent, metalcore, nu metal and breakneck hardcore with his six-string weapon – he alone generated a force that shouldn’t be reckoned with. It should be a touring recommendation that free chiropractic treatment is a must for these marvellous musicians.
‘Pandemonium’ impossibly combined the first wave of OC metalcore with electropunk and the ethereal electronic ambience of iamamiwhoami. ‘The Answer Is You’ elevated all of these sounds, including an interlude that called upon the rhythm of The Prodigy’s ‘Narayan’, but with a heavy intensity bolstering the energy of the exhibition. A small reminder from this scribe, this showcase was astoundingly presented by the opening outfit – a four-piece who have never been to Australia before.
‘Dying Light’ had the power of Bleeding Through’s symphonic metalcore where the quartet successfully instructed the entire venue to kneel down and jump up with immeasurable enthusiasm. ‘Because I Let You’ was a thrashier affair, with an extraordinary Flyleaf electronica intermission that stopped the capacity crowd in its tracks. This journey became incredibly more charismatic with a Björk guided bridge that experimented in trance guided overtones.
‘Sweet, Sweet Lies’ provoked a circle pit that built in intensity until the slowing conclusion that evoked a gloomy desolation; the type where questioning the current state of the world is more than required.
“Burning with dark inspiration” – this was Infected Rain’s motif also. They were beyond thankful for the attention and adoration Adelaide presented before them on their debut Australian tour. So only one question remains: When do they return for their own headline voyage?
If Tim Burton was to create a Shakespearean romantic tragedy film that required a gothic horror metal soundtrack, there is arguably only one band in this universe that could accomplish such a complex form of artistry: Cradle Of Filth. The six-piece’s entrance onto the Governor Hindmarsh’s stage was eccentric and electric, as it deserved to be. The eruption from the enormous and practically immovable audience was tremendous, it was time for us to enter Total Fucking Darkness.
The theatrical initiation was the instrumental ‘The Fate Of The World On Our Shoulders’; a doomed metallic orchestral composition that bizarrely hinted at evil and hopefulness at the same time. ‘Existential Terror’ became the official opening, that moved in theatrical values; each musician playing their vital and enigmatic characters with ringmaster Dani Filth being the narrator of the story. New keyboardist and haunting enchantress of melody Zoe Marie Federoff is a breathtaking addition; gracefully bewitching all with her serenades and glowing as Dani’s harmonious counterpart.
‘Saffron’s Curse’ almost came across as Labyrinth’s metallic soundtrack accelerated to unimaginable limits. The film can be considered unsettling – imagine the tale being redeveloped with a disturbing heavy makeover? This is what Cradle Of Filth are magical at executing. Daniel Lloyd Davey (Mr Filth) also undertook a persona that Johnny Depp wishes he could observe; if there is a vampiric reality to the ‘Cradle – this performance was assuredly unveiling them in that incredible incarnation.
“Greetings Adelaide, I’m not sure what night it is, but you Australians are probably already drunk.” Dani is no stranger to our ways, and ‘She Is A Fire’ was a remarkable rock-opera presented as a “thank you” for our long serving adoration to the spectacular six-piece. ‘The Principle Of Evil Made Flesh’ was historic; a time travel expedition to the second wave of black metal that will remain vital, although CoF always did it their way. ‘Crawling King Of Chaos’ felt fantastically sacrilegious and many wished they could experience it over and over again; its musical chapters are an astonishing adventure in themselves - most notably how heavy the single becomes in a delightfully dizzying manner.
‘Nymphetamine Fix’ felt like the evil cousin to Nick Cave and Kylie Minogue’s duet ‘Where The Wild Roses Grow’ and ‘Dusk And Her Embrace’ was exceptionally more venomous. ‘Necromantic Fantasies’ impossibly became a figment of imagination. Exchanging guitar solos, stomping percussion that moved the Earth and a riveting presentation of literature – if one had to introduce a new listener to Cradle Of Filth, this track is the flawless example.
‘Born In A Burial Gown’ was the flawless raw form of everything ‘Filth orchestrate marvellously. Drummer Martin "Marthus" Škaroupka went beyond human ability and this actually felt like the dramatic conclusion.
In a sense, it was.
Then, it wasn’t.
The band exited, then returned for ACT II of their performance. ‘A Bruise Upon The Silent Moon’ invited the sextet back to Adelaide and ‘The Promise Of Fever’ then devastated the capacity audience brilliantly. Consequently, this instigated them to rise up again, mostly through crowd surfing and mosh-pit antics.
‘Cruelty Brought Thee Orchids’ was the highlight, a circus horror that involved avant-garde math metal, gory grooves and horror film emittance the fanatics crave worldwide. There is the expression of “timeless music”, and amazingly this artistic creation was portrayed echelons above what it was five years ago; truthfully, “scintillating” does not begin to describe it.
“Adelaide, you have been a most delightful and delicious crowd” – Dani expressed in thankful praise; honestly though, Australia was more grateful in return. The attack the band launched for ‘Her Ghost In The Fog’ and ‘From The Cradle Of Enslave’ were sleekly sinister. Instruments were turned upside down, sing-alongs were deafening near the stage, charismatic stage choreography enraptured the venue, and villainous laughter invaded the atmosphere.
Dani Filth concluded the production with this almighty statement: “We are fucking Cradle Of Filth”!
Undoubtedly, they are still “Burning with dark inspiration”.
Check out the full gallery of images here.
