Il respiro a vampire can not go unnoticed ...
Album name: Darkly, Darkly Venus Aversa
Label: Peaceville
Release Date: October 29, 2010
Genre: Extreme Gothic Metal / Symphonic Black Metal 
Introduction:
Here I am, with the promise of the new album review the most famous vampire of metal. In fact, in this ardent and prolific 2010, carves out a space in the new releases also a band I've always had a good relationship, the British Cradle Of Filth: pillar of the symphonic-extreme-black-gothic-metal (and so with usual labeling), and the extreme metal scene in general. Let's start first of all have a hint about the history of this group, to understand, in short, the stylistic evolution: they start in the early '90s, devoted to a violent black metal and symphonic mold, and, lyrically speaking, totally dedicated the dark and romantic themes of vampirism, taken always in a poetic and literary. After years of excellent albums and published, we are seeing, since 2004, a flop compositional the period with more "gothic-oriented" of Thornography and Nymphetamine, two albums of adrenaline too deflated, poor and good ideas in their own way, too "commercial". A strong sigh of relief we find him with the second last and surprising Godspeed On The Devil's Thunder, and now, A 2010. Q. We are in front of a (final?) Confirmation of their newfound polish at songwriting. Yes, because Darkly Darkly Venus Aversa, is a good album gothic metal sound extreme, the group reports to the glories dell'osannatissimo Midian, or colossal Damnation And A Day In terms of speed and composition, the album is really a shot in full face, and although the ideas are certainly not too original or innovative (young, old glories as Principle or Dusk will never return), the songs manage to slide, with a certain fluidity in the ears of the listener. Merits of a decidedly evil reborn and thrasheggianti blackeggianti shades, which, for some time, he did not feel in the music of the British. Lyrically, it's a concept, as usual, well written, focused on the figure of Lilith, a female demon associated with the storm, the death and misfortune. Immediately clean the area from perplexity fans all over the world will have been horrified at the exit (the previous album) of the individual Forgive Me Father (only) within the highly questionable track record, which he did immediately reminded of the quite false step that brings the cumbersome name of Thornography. But do not be alarmed: in fact, this is the new annoying in a work of highly respected and objective of undoubted quality.
Track By Track:
We pull already a sigh of relief and comfort, accompanied by a fixed idea ("we finally") listening to the first track: "The Cult Of Venus Aversa ". It begins with an introduction to symphonic and atmospheric, played by the ubiquitous Sarah (from years in the ranks of the band). No time to think, and there is a superb shot in the face of attack blast-beats out of control. The song is a continuation of the excellent riff between black and some more thrasheggianti a rug too symphonic never intrusive, and orchestral interludes. One of the best tracks on the disc. Still very much altered for the malice with which the band once again, continue with "Foul One Step From The Abyss" . After a piano intro and chorus (I remember the first album), the ingredients do not change, and is still a succession of sonic earthquakes through devastating riffs and precise. "The Nun Habit With The Astral" not save your ears: a thousand shot begins on a rather unconvincing monotone guitar riff, but the result is definitely a success. The verse travels on an array of death metal riffs, the bridge slows down to give way to an atmospheric piano action, and the rest is an abuse of power to blast-beats and riffs Bonecrusher. Orchestral work inspired by the report, making the song dark and fascinating. Hell sound continues with "Church Of The Sacred Heart" song that almost 4 minutes, where, again, is a massacre. Just when the ear begins tired of so much hysteria, comes a handful of riffs slowed down and more reasoned. The coordinates of the song continues, however, hammered through the fresh death-black metal. And so we come to another of the best tracks on the disc: "The Persecution Song" . Just where the Cradle had failed five years ago, with that, unwelcome, place of gothicheggiante Nymphetamine, try to tread the ground. The song is stunning in its gait. The mold of the song is excellent gothic metal, and the riffs are more slow and atmospheric, at least until a little over half the song, which reappear, not shy, blast beats and pull speed exciting as it must. The song, after taking up the initial riff gothic, ends with a brief air-orchestral work, so dear to British vampires. Definitely a good song, that breaks the monotony of the initial pieces glimpsed. And 'round the "Decieving Eyes" and after a thrash attack, back to the usual tracks that we have already spoken. The song is quite interesting, if only for the many riffs that are followed in a flurry of accelerations and decelerations, action-piano ballad, and well arranged orchestrations, as always, never too much in evidence. The song, ultimately, is less brutal and more varied than the first pieces. The battery starts acting up note to the next big "Lilith Immaculate" , a good piece from the usual horror-black symphonic atmosphere that haunt the album. A slightly out of tune, in my opinion, is the choice to enter a particularly airy and melodic bridge, which wife is ill with what has been heard. But it is noticeable, however, the attempt to insert some more element in their music. The song slows down in the middle, with a beautiful symphonic break the mold, and then resume the initial riffs brutal. The next "The Spawn Of Love And War" be appreciated for a plant predominated early thrash metal, even if, in his long series, there the usual orchestral parts, and slow-style gothic (whose theatricality and dark are always insured) riff alternating with more murders. However, in my opinion, is a song quite negligible. In other words, the primordial impact of the album starts to not be so scratchy. "Harlot On a Pedestal" , with its dark melodies, brings to mind some old masterpieces of the band, and between thrash and pieces coming off gothicheggianti, appears to be a remarkable piece of workmanship, certainly more valuable than the previous. And here is the song "x", unbearable "Forgive Me Father (I Have sinned)" that little to do with the structure of the album, and brings to mind the worst of the band, so that (rightly) discussed Thornography. The pace is much slower than in the rest of the album, and from this point of view is not bad, given the heavy sound of the disc. However, the song fails to shine, and (with attached video clips) would give credit to those who pointed out that he sold the COF and ridiculed in recent years. Fortunately, however, as already mentioned, this is an isolated incident. Closes the album, the longest song of the album (7 minutes and 16), "Beyond Eleventh Hour" , who, after an intro played by Sarah, is a continuation of through the usual ingredients throughout its duration without adding more to this delicious new issue license plate Cradle Of Filth.
Techniques and Concluding remarks:
I confess that I found it difficult to describe these 11 songs. This is due to the fact that the music of Cradle (like that of many bands in the extreme view) does not follow, in song structure, precise patterns. The classic song format, in most cases, does not exist. Therefore, the riffs and changes in the atmosphere are very many, and it was difficult to put on paper what this music. That said, we can say that COF is a band finally reborn, that shows even know how to write music and intelligent, no less important element, who can be scathing, wicked and damn bad. Dani is no longer sure what it once was behind the microphone, but his interpretations and his scream-growl is still in good taste for music and essential horror of the British combo. Technically, I can report the unknown drummer Martin Skaroupka, a true war machine, which, with its powerful and precise blast beats, with its rich passages and, in some albite, even very technical, is, in my opinion , the best drummer in the group has ever had for this essential disk, as it has been for the equally successful Godspeed. For the rest, the band makes its precise work, with no stand out for special gifts too. The orchestral parts also are perfect in their giving a more in depth to the tracks, but, as mentioned above, do not cover the other instruments. The guitars, in fact, are very present, and, therefore, serve as the orchestration of a perfect outline, however, essential to the charge of bad music on this album. The production, from the watershed that was Nymphetamine is objectively improved, and, since that is pompous, brilliant and does justice to every sound. What else to say, it seems that everything is perfect. However, the only major flaw of this album is the fact that the songs are able to listen and to let slide, but did not deny that certain solutions are quite similar. Therefore, there is a hook or a riff that would allow us to distinguish them from each other perfectly, and this, in the long run, may cause a feeling of boredom in the listener. Fortunately, the songs are still well balanced and designed, and managed to limit the yawns. Two words on the cover: the image is very nice, dark and evocative. It is certainly not a masterpiece, but it fits well with the atmosphere and themes of the disc. Fans of the new course, but also the old way, then enjoy this new heady effort of the British, or at least give it a listen, and understand that the Cradle still have much to say, hope it does not fall into some new poor choice. Tremble, British vampires are back.
Tracklist:
01. The Cult Of Venus Aversa
02. Foul One Step From The Abyss
03. The Nun Habit With The Astral
04. Retreat Of The Sacred Heart
05. The Persecution Song
06. Deceiving Eyes
07. Lilith Immaculate
08. The Spawn Of Love And War
09. Harlot On A Pedestal
10. Forgive Me Father (I Have sinned)
11. Beyond The Eleventh Hour
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