iTunes

Abriendo iTunes Store.Si iTunes no se abre, haz clic en el icono de la aplicación iTunes en el Dock de Mac o en el escritorio de Windows.Progress Indicator
Abriendo el iBooks Store.Si iBooks no se abre, haz clic en la app iBooks del Dock.Progress Indicator
iTunes

iTunes is the world's easiest way to organize and add to your digital media collection.

No encontramos iTunes en este ordenador. Para escuchar un fragmento y comprar música de Thornography de Cradle of Filth, descarga iTunes ahora.

¿Ya tienes iTunes? Haz clic en Tengo iTunes para abrirlo ahora.

I Have iTunes Descarga gratuita
iTunes para Mac + PC

Thornography

Abre iTunes para escuchar un fragmento, comprar y descargar música.

Reseña de álbum

Cradle of Filth is, without question, Britain's most popular, adventurous, funniest, and theatrical alternative metal band (they've actually smiled in photos in full corpse paint). They've been blogged about endlessly, and most recently about not being in the least bit a "black metal band" anymore but merely a good metal band — they seldom wear corpse paint; they've been interviewed by MTV; have a MySpace page (not run by them); and lead singer Dani Filth sometimes goes by his real name Dani Davey now. Whatever. Cradle of Filth are not a good metal band; they are a great one. Over six previous full-lengths they've been able to make seamless the melding of gothic textures, symphonic music, drama and dynamics, bone-shattering death metal, high concept theater, great production, and humor. In short, they may be mainstream these days, but they can still shred the pants off just about any body musically.

Thornography follows Nymphetamine on the Roadrunner label and is produced by Rob Cagganio. And the band is intact with guests like the inimitable Sarah Jezebel Deva of Angtoria. While it's true that the new title doesn't match the last one (it was so brilliant, how could it?), the music certainly does. A deep, creepy gothic intro titled "Under Pregnant Skies She Comes Alive Like Miss Leviathan" (written by Chris and Tommy Rehn of Angtoria) that would have improved upon the one in the original Hellraiser film, with big choirs, huge organs and strings, it's almost Wagnerian in scope and sets the tone for those bludgeoning twin guitars and blasted drum work on "Dirge Inferno" (which is anything but). Dani Filth is as entertaining as ever as s singer, sounding somewhere between Cookie Monster with a razor stuck in his throat and Chris D. of the L.A. horror-punk band of yesteryear the Flesh Eaters. But it wouldn't matter if Miss Piggy were fronting this unit, they are so utterly accomplished as a metal band musically. Check "Tonight in Flames" with its references to the great metallic bands of the past for evidence. But Dani serves another purpose because he's so utterly entertaining. "Libertina Grimm" weds Lovecraftian horror filtered through Vincent Price kitsch, wedded to Sade-ian pornography via blistering metal: "God was six days sober/On the night that she was born/To the glistening star of a bible class/An icon now in religious porn." Offended? What did you expect from a band called Cradle of Filth? "Sweet Child O' Mine"?

This might be offensive if it could at all be taken seriously. Offense is the point, but so is the fun of classic horror. Better is "The Byronic Man," which follows. It's such an intensely high gothic concept, lamenting Lord Byron's fate and celebrating his many alleged crimes against culture, the church and the aristocracy: "As lonely as a poet on the walls of Jericho/Or the moon without the comfort of the stars/I am loathe to know it that a man without a soul/Is nothing but a spilt canopic jar/I proved it, improved it/Drove a sonnet right through it..." But none of this would matter if this band couldn't write songs, and be so utterly full of the dark side of Halloween and rock the joint to the cracked cement foundation. Who cares what the street thinks about them? Cradle of Filth have been trying to be the evil version of Queen for ten of their 15-year history. Whether its Edwardian decadence, classless humor, power metal in overdriven fury or over-the-top satire disguised as transgression; COF are so very consistent and sophisticated musically and sonically that they are virtually untouchable and in a class of their own — which is where, make no mistake, they always wanted to be.

Other standout tracks on this set include "Cemetery and Sundown," with its woven vocal choruses, deep rumbling bass riffs, and melody line like something off the Damned's Black Album. The unhinged "Foetus of a New Day Kicking" simply kicks ass in the way that Venom did on their debut album with riffs as sledgehammer-like as early Iron Maiden. But nothing quite prepares the listener, whether old loyal fan or newfangled bandwagon jumper, for the cover of Heaven 17's "Temptation" that closes the record and, in addition, is the album's first single and video. Who said Satanic heavy metal bands couldn't crack a joke? Whether this will be the last straw for the COF faithful and/or win them an entirely new legion of fans is anybody's guess, but let's just say by the sound of Thornography, COF are aiming at playing an arena near you sometime in the near future. [The 2006 edition includes one bonus track.]

Reseñas de clientes

Calm the hell down!!!

Okay. I must admit that when this album first came out, i was going with the mob mentality (I'm ashamed) and assumed that just because they said it, it was true. The truth, ladies and gents, is that this album is GOOD. I didnt want to do an essay, but due to the fact that there are so many ignorant people in the iTunes world, i feel more than obligated - this is my calling: I really hate how when a mature band tries to be experimental, they are repeatedly written-off. Dani Filth is a very talented musician. As an aspiring musician myself, i would much rather have my albums represent a variety of my spectrum of thoughts and creations rather than a simple, dull-minded repetition that many of the numbskulls here seem to prefer for some reason. Also, I would like to point out that Cradle Of Filth, although does have a lot of black metal influence (even present here), was never a black metal band to start with. I consider them "goth" metal, though my classification of goth may be different than others. My point here is that bands and musicians like to explore their limits and break them. In my opinion, this is a solid album that places more emphasise on the guitar and female vocals than the past. I recommend buying this album. I now stand ready for any and all mockery (ie people pointing out my spelling errors or such idiocy of the like).

They've still got it

After years Cradle still seems to have it. While it bears almost no resemblence at all to their older stuff, and is not as good, Thornography still brings it in a way that only Dani Filth and his posse can. I definately recommend this for both new and old COF fans.

What happened to them.

There are no words to descride how awful this sorry excuse for an album is. I thought Nymphetamine was bad, but this takes the cake. I used to be an extreemly huge fan of Cradle of Filth fan until they came out with Nymphetamine, now I really hate them.

Biografía

Fecha de formación: Suffolk, England, 1991

Género: Rock

Años de actividad: '90s, '00s, '10s

British black metal band Cradle of Filth formed in 1991, originally comprised of vocalist Dani Filth (born Daniel Lloyd Davey), guitarist Paul Ryan, his keyboardist brother Benjamin, bassist John Richard, and drummer Darren. After recording a demo dubbed Invoking the Unclean a year later, the group recruited guitarist Robin Eaglestone, who quit soon after recording a second demo, Orgiastic Pleasures; however, when Richard exited the band a short time later, Eaglestone stepped back in to assume bass...
Biografía completa