There’s another basket of evil in Satan’s nursery and it’s called Hammer of the Witches. The latest birth by Cradle of Filth is a concept album that holds tracks that wind their way through all things darkly magical.
You can expect and anticipate many things from this album, and it does not disappoint. If you want exemplary instrumentation, you’ll get it. If you want a couple of instrumental tracks, you’ll get them. If you want the distinctive guttural growl of Dani Filth, it’s there. If you’re looking to be taken on a musical journey into the darkest pits of hell, where witchy covens dredge up spells that tap in to the foibles of human character, this is for you.
In Hammer of the Witches, twenty-five years of conjuring conspires to make one professional and sharp unit. You would think that every member of this band has been in the ‘Cradle’ since it’s inception, but no…the fact that the recipe has stayed true to the original concept has allowed the band to be consistently inspiring despite numerous line-up changes.
There are so many highlights on this new offering, and it very much depends on what you hear on each listen as to what you’ll enjoy best. ‘ The guitar work by Richard Shaw and Ashok manages to create a musical, emotional prompt as the tempo wends its way amongst the lyrics. Daniel Firth provides rich bass sounds that set the beat and complement the heartbeats of Martin Skaroupa’s percussion. Lindsay Schoolcraft deftly plays the gentle keys to build to a climax and then mirrors the darkness and swiftness of witchy retribution. Listen in awe as ‘Blackest Magick In Practice’ encompasses moments of genius. Song titles conjure detailed images the likes of William Blake could achieve with paint and madness. Come climb into the Cradle of Filth and seek revenge for self-righteous persecution.