Cradle of Filth - NYMPHETAMINE [Release: 27.09.04]]

  • Der sechste Longplayer erscheint am 27.09


    Vorab kann man sich den Song Gilded Cunt anhören. HF


    So das Cover :


    BGCFCD10.jpg


    Track Listing:


    1. Satyriasis (Intro)
    2. Gilded Cunt
    3. Nemesis
    4. Gabrielle
    5. Absinthe with Faust
    6. Nymphetamine (Overdose)
    7. Painting Flowers White Never Suited My Palette (Instrumental)
    8. Medusa and Hemlock
    9. Coffin Fodder
    10. English Fire
    11. Filthy Little Secret
    12. Swansong For A Raven
    13. Mother of Abominations

  • Recht stylisches Cover, bin mal gespannt, was die Stücke so bringen... aber soll ja wie eine Mischung aus Midian und Bitter Suites klingen, wenn ich mich recht erinnere :verplant: , also kann's nicht allzu schlecht sein :D


    Freu mich auf die Tour. :drevil:

    Well sorry, but I think you were talking through a very large hole in your arse. (Shirley Manson)

  • wird 100% Cradle of filth was ich weiß. Auf jeden Fall kann der Song was, sie sind keine spur besser geworden (in positiver hinsicht ;) )

  • So und jetzt no was zu den einzelnen Songs:


    NYMPHETAMINE: album tracklist descriptions


    The title of the album comes from the marraige of two words... nymphette
    and... amphetamine. Loosely translated, sex and drugs combine to describe an
    unhealthy, beast-like addiction to the classical fairer gender or one female
    ideal in particular. A dark Goddess figure. If women have a sexual, venusian
    substance, then this relates to the abuse of that substance in vast and
    unhealthy amounts.



    Gilded Cunt


    A harsh song demands an uncompromising title and this is obviously no
    exception to that rule. The subject matter is simple. The 'gilded cunt'
    refers to a conniving devious reptile who lives the life of luxury at the
    expense of others. A spoilt, tyrannous dominatrix who demands worship
    through the aquisition of money. She is in actual fact, beneath the glitter
    of expensive jewelry, no more than tendered mutton dressed up as lamb.
    There was nothing quite as gratifying as screaming the word 'cunt' at the
    top of one's lungs for the mid-section of this vicious little ditty. I loved
    it! An extremely angry song in the vein of Sepultura's 'Roots' mixed with
    choice 'World Downfall' tracks by Terroriser.



    Nemesis


    In the wake of September the eleventh few people could possibly remain
    unaware of the rising threat to world peace through concerted acts of
    terrorism. This song delves into the mind of one such militant and offers an
    alternative explanation to their reasoning for a holy war... the needless
    loss of loved ones such as a child and the need to avenge their memory
    against a privileged western enemy. This song seeks not to condone or
    encourage such retaliation, but to find an explanation for the motive to the
    act of terrorism and is my personal favourite track on the album.


    Sounds like: At The Gates meets Judas Priest meets Morbid Angel listening to
    'Amor E Morte'.




    Gabrielle


    Yet another little gothic romance embroiled around a murderer's infactuation
    with the dusky foreign woman of the title... 'For Gabrielle/ Whose hair of
    spun onyx is run with gold/ Her rouge lips smack of dark blood/ Her name in
    whisper rolls/ Forever on my tongue/ Lest Her memory dissolve'. This is another
    fast, hooklined, anthemic number which in turn 'dissolves'
    into a heart-rending mid-section replete with strings and keys, all
    underpinned by a creeping, resonant bass hook. Some of the riffs in this
    track are particularly catchy, especially on the fast breaks and where they
    drop down into the groove of the verses, where this song is definitely
    reminiscent of 'Bitter Suites To Succubi' era Cradle. I love the ending of
    the track, mainly because up to this point the character has only really
    poetic things to say about Gabrielle (although you do get the impression
    that something is definitely a tad sinister about his infactuation...), but
    then everything finally darkens with the lines...Foul snake despair/ Where
    once you wreaked my misery/ Another toils there/ For long lost Gabrielle/
    Whose nightly spreading grin/ Persists in other faces/ By whom i'm slowly
    taken in' and the song rolls into culmination with a really Slayer-esque
    finale.


    Sounds like; What i've just written about.



    Absinthe With Faust


    Concerns itself with two sinners reflecting on their lives of decadence and
    pomp as they share their last drink on the very verge of the abyss. This
    song was inspired by a night of guilt and nostalgia at everything that has
    befallen over the last six to seven years (in fact i felt a little at sixes
    and sevens musing over all the events...) and attributing the success to the
    blame of devilish intervention as in the infamous Goethe story where Faust
    sells his soul to the Devil in return for a life of riches and splendour.
    Also features some of my favourite lines in 'Let us drink on the giddying
    brink of pools of excrement/ all manner of shit for the glamour and glitz
    Mephistopheles lent...'.


    Sounds like: Master of Puppets era Metallica.



    Nymphetamine


    The title track concerns itself with a love affair so intense, that although
    soured and dead, ignites at the slightest sniff of re-invention. The first
    hand characterisation insinuates a drug-like addiction to the woman in
    question, with her insidious vampyre qualities literally bringing Her lover
    back from the brink of the spiritual grave, only to bury him further on the
    strength of a whim. This is very Edgar Allan Poe in style and leaves one
    thinking that, despite the character's inner agonies, he is really a welcome
    submissive who readily enjoys the terrible highs and lows of his
    relationship with this alluring and filthy, depreciative succubus. The cool thing
    about this song is that it is really a beast of several parts. A chimera. The main
    hub of the song is very lovelorn and drowsily melodic and it is these traits
    combined with shared female and male vocal passages that serve to
    highlight the plight of this, the title track of the album. However, this catchier
    side to C.O.F (a la 'Malice' and Babalon') is offset next to the first and last
    parts of the song which all come together to form a darkly erotic triptych.


    These two sections reveal another chorus augmented with an exceedingly
    creepy and menacing lead line that bursts suddenly (and frenetically) into
    brutal riffage along the lines of: Napalm Death and Mayhem.




    Medusa And Hemlock


    Witchy and twisted, this track represents a certain style of song that nigh
    appears on every single Cradle Of Filth record in one form or another. On
    Dusk it was 'Beauty Slept...', Cruelty 'Twisted Nails' and on Damnation it
    was 'Babalon AD'... a certain frame of mind during writing that suggests
    future mental incarceration. This particular addition to our weird song
    repertoire concerns itself with the Priest and High Priestess of a witch
    cult, who, through their utter devotion to themselves and the dark arts,
    conspire to invoke ancient forces from their graveyard slumbers, remaining
    as carnal gatekeepers in the interim. The lyrics join them in celebration of
    a triumphant return on Samhain night, when the deadways between the worlds
    are at their closest and most vulnerable to rupture.


    Sounds like: 'Twisted Nails' meets early Destruction and Death in a misty
    cemetery.



    Coffin Fodder


    This track is about escapism from a world ruled over by preachers, no-hopers
    and soul destroying vermin and the flights of fancy that believing in one's
    own destiny (no matter what entails) conjures up. A very personal lyrical
    content, this is about rising above the depreciative mob with a
    life-affirming 'fuck you!' directed in a very metal way. Extremely melodic
    in the fact that the main harmony is the closest Cradle have got to sounding
    anything like classic Iron Maiden, this song also veers towards
    blast-lightspeed and though not as brutal and uncomprising as 'Mother Of
    Abominations', it is probably the fastest track on the album when and where
    it roars.


    Sounds like: Iron Maiden circa 'Powerslave'... on crack!



    English Fire


    This song is very enigmatic. Slow, heavy and grandiose, it reeks of pomp and
    dark majesty and is comprised really out of only two riff structures, so it
    is obviously very different for C.O.F. Basically it rocks in a Sabbath
    doomladen context.Lyric-wise, the song concerns itself with heritage
    and invigoured pride for one's own country, not in a nationalist, fascistic sense,
    but in terms of rebuilding the beauty and stature of a once great nation. Obviously the
    title implies that nation to be England (Cradle's country of origin), but
    the words can be interpreted to speak of anyone's homeland that is seen to
    be slumping from the weight of it's afflictions.


    Sounds like: Manowar meets cathedral, interspersed with moments of melodic
    reflection.




    Filthy Little Secret


    A very Lovecraftian-themed tale about the guardian of a extraordinarily
    gifted beauty, a beauty who slips beyond the veil of the underworld at night
    to dam the rift between our world and the abyss, by fucking everything that
    comes close to breaching the gap, therefore satiating demoniacal urges that
    want, quite literally, to rend our world apart. The twist comes when her
    guardian fails to resist his own desire for the beauty who, at all costs,
    must remain pure and untouched in our world in order that her
    erotically-charged spirit remain firmly hilted in the other. Any attempt to
    interfere with her seance will result in horrors from the pit slathering
    into the real world to wreak far worse atrocities than those they inflict
    nightly upon her gorgeous astral form.


    This track was never intended for the album, in all honesty it was a total
    rank outsider even for the forthcoming planned special edition until it was
    played to the producer, who thought it was such a catchy metal anthem that
    it was immediately drawn out of retirement and rehearsed vehemently at the
    studio to bring it up to date.


    Sounds like: Mercyful Fate meets motorhead at death metal's throat. There is
    a great mid-section where the dual guitar work meanders through a little
    story of it's own, only to bring the sombre, melodic end riff back round to
    the beginning of the dark, perverse and misanthropic storyline.




    Swansong For A Raven


    This is the second part to 'Her Ghost In The Fog' and therefore subsequently
    follows the story of the young man avenging his woman's rape and murder at
    the hand's of a self-style lynch inquisition. The original (which culminated
    in him, haunted by his lover's spirit, burning those responsible alive in
    the village chapel) is expanded upon further as he recalls the events of that
    fateful day as he too is hunted by a vengeful mob in the forest where he
    converses with her beautiful, but dead and rotting body.
    This has a very 'Sleepy Hollow/Nightmare Before Christmas' vibe to the
    proceedings, with the rollercoaster ride of riffs spiralling toward climax.
    Dark and magickal. Oh, and it also features the voice of Doug Bradley
    (Pinhead from the Hellraiser movies), reprising his role as guest narrator.




    Mother Of Abominations


    A song about the Great Goddess Cthulhu and the awakening of her dark spirit
    from centuries of slumber, in turn representing the onslaught of a new world
    order and the inevitable destruction of human existance. In truth, a
    continuation to 'Midian's' 'Cthulhu Dawn'. This is a very brutal track,
    lightning-fast and uncompromising much like the Great Old One Herself,
    sweeping away all before Her in a colossal tidal wave of violence and
    millenial bloodshed. The song ends on a totally evil outro riff cross fading
    with a malign and insidious Lovecraftian chant.


    Sounds like: 'Nightside' Emperor meets early fast Cradle with extra thrash.

  • Bin mal verdammt gespannt, wie die Fortsetzung von Her Ghot In The Fog ( :prayer: ) wird!!

    Well sorry, but I think you were talking through a very large hole in your arse. (Shirley Manson)

  • Hab mir mal Gilded Cunt angehört. Und es gefällt mir so sehr wie alle CoF Songs: GAR NICHT. Also wieder mal ein Album das ich nicht beachten muss sobald es erscheint. Und JA, auch Midian fand ich scheiße.

  • Ich kann solche möchtegern grabsteinlecker wie cradle einfach nicht leiden. die musik, darüber lässt sich streiten. nicht aber über deren verhalten und ihre billige provokation...einfach lächerlich, erstickt jede gute musik im keim

  • Quote

    Original von ur_master
    Ich kann solche möchtegern grabsteinlecker wie cradle einfach nicht leiden. die musik, darüber lässt sich streiten. nicht aber über deren verhalten und ihre billige provokation...einfach lächerlich, erstickt jede gute musik im keim


    Das hier ist lediglich ein Review-Forum wo Neuerscheinungen besprochen werden sollen.


    Deine Meinung zu allen Bands kannst du im ganz normalen thread zu der Band besprechen.
    Benutze dazu einach die search.jpg;)

  • wow, wie lange hat hier keiner mehr etwas geschrieben? ich habe mir die platte letzte woche zugelegt und komme aus dem hören nichtmehr heraus. mein gott ja, cradle sind DIE verräter des true BM, is klar, aber wer cradle kennt, müsste auch wissen dass die band sich selbst nicht ganz so ernst nimmt wie genre"kollegen" wie dimmu, marduk, burzum(varg, du hast es verdient wo du gerade sitzt), etc.


    denn diese platte ist, wie ich finde kein BM-album, sondern ein METALalbum besonders adrian erlandsson am schlagzeug und james mcilroy an der gitarre liefern einen KLASSE job ab. von den lyrics mal abgesehen. und die songs gehen für CoF-verhältnisse recht schnell ins ohr... was soll ich sagen? mir gefällts sehr gut!

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