lukretion Midian is Cradle of Filth’s fourth full-length album and was released in 2000 on Music for Nations. The band underwent some major line-up changes between their previous LP Cruelty and the Beast and Midian. Old-time drummer Nicholas Barker left and was replaced by Adrian Erlandsson from At The Gates. Guitarist Stuart Anstis was also replaced by Paul Allender, who had recorded Cradle of Filth’s LP before quitting to form the short-lived doom/gothic project The Blood Divine. Meanwhile, Martin Powell from My Dying Bride replaced keyboard player Les Smith who went off to join Anathema. The production team was also changed, after the disastrous sound production of Cruelty and the Beast. This time Cradle of Filth went to Parkgate Studios, Sussex, to record the album under the supervision of producer John Fryer (Depeche Mode, Nine Inch Nails), who did a great job in giving the album a powerful yet nuanced sound.

All these personnel change are inevitably reflected in a progression in the band’s sound relative to previous releases. Midian is more guitar-driven and less romantic/gothic than Cruelty and the Beast or Dusk … and Her Embrace, perhaps harking back to the heavier and thrashier sound of Cradle of Filth’s debut LP. On the other hand, the symphonic influences are also accentuated considerably on Midian, also thanks to the inclusion of operatic vocals (both male and female) and the use of a cello in a few songs. These changes contribute to give the album a sound that is at the same time more metallic and more nuanced than before. What’s more, it shows that Cradle of Filth are a band that does not easily rest on laurels. Although the previous records had been highly successful, Dani Filth & co were still hungry for pushing boundaries and did not shy away from experimenting with new sounds and bringing in new influences into their sonic palette. Needless to say, this is a characteristic I hugely appreciate in any band and even more in acts that could in principle be satisfied with what they have reached and keep producing the same record over and over again.

Many of the 11 tracks of Midian are fantastic tour-de-forces that showcase the band’s unique sound. After the traditional instrumental prelude, the breakneck pace of “Cthulhu Dawn” makes it immediately clear that Midian is going to be a comparatively heavier affair relative to the gothic romances of Dusk and, to a lesser extent, Cruelty and the Beast. The guitar riffs are massive and thrashy as hell, and are nicely complemented by Martin Powell’s keyboard arrangements, striking a great balance between aggression and melody. The chorus is ominous and ferocious and sticks in your head like a ravenous tick, not because it’s melodically accessible but for its sheer brutality. It’s an approach that the band will repeat on a few tracks that are placed in the first half of the album, like “Saffron’s Curse” and “Lord Abortion”.

The second half of the album is less frenetic and more experimental, and I appreciate it all the more for it. “Amor e Morte” (Italian for “Love and Death”) is an astonishing piece of music that weaves together epic mid-tempos, fast paced sections, operatic choruses, cello melodies and a ton of excellent guitar riffs. It’s a fantastic ride where it is really hard to guess what’s coming next, making this one of the most exciting tracks on the whole record. “Her Ghost in the Fog” is another great song: moody and romantic, it brings back the atmosphere that the band had so successfully mastered on Dusk, turning this into an all-time classic for fans of the band. Another highlight is “Tearing the Veil from Grace”, which starts with one of the best (clean) vocal melodies of the album before descending into a more aggressive mid-section that gives way to a truly majestic finale.

Alongside these strong episodes, the album does contain songs that are slightly less interesting and exciting. I would not call them “fillers”, but tracks like “Death Magick for Adepts” (which, however, sports some tasty Maidenian guitar melodies), “Tortured Soul Asylum”, and “Saffron’s Curse” are a tad too formulaic and repetitive, diluting a bit the overall impact of the record.

Nevertheless, Midian is a very strong record, well-written and well-produced and containing some innovative and experimental songwriting from the band. It does not quite reach the level of majestic splendour of a timeless masterpiece like Dusk … and Her Embrace, but it does get damn close, and it certainly deserves a place among the top 5 releases of the band across their whole career. Highly recommended!

Vim Fuego Self–appointed "true" black metallers do not consider Cradle Of Filth to be true black metal.

No, Cradle Of Filth are not as raw as Dark Throne, early Burzum, or Mayhem. No, they don't play as fast as Marduk. No, their atmosphere and songwriting ability is not equal to that of Emperor. And the cardinal sin for the subterranean black metal judges, Cradle Of Filth have sold too many albums!

Look a little further into Cradle Of Filth, and you will see why they have sold so well. The band does not fall into the clichéd black metal trap of having to have paper–thin production, indecipherable strangled cat vocals, and one–dimensional songwriting. Midian is an excellent example of what a band can do when they do not follow the true black metal path, and people have voted with their wallets.

And why not! There are plenty of tasty melodies, the ubiquitous female vocals, and despite the naysayers complaints, plenty of instrumental, vocal and lyrical talent on display here. Dani Filth is his usual filthy self, creating twisted torrid tales of bloodlust and vempiric lesbianism, which he screeches, moans and rasps with glee. The guitars duel a la Iron Maiden, and the rhythm section is as tight as it's ever been.

Without getting into any sub–genre labeling arguments, this is first and foremost a metal album. Yes, metal, that long forgotten music form, played with loud guitars, guitar solos, over the top vocals, and the lyrics cover irreverent subjects like vampires, sex, and, er… sex with vampires… If you're a "true" black metal fan, you will hate this. If you're a fan of metal in general, check it out. It's damn good, tongue–in–(butt)cheek fun!

Warthur I've always thought that Clive Barker's Nightbreed - the story of the city of Midian, a secret sanctuary for various warped and demonic monsters, and a man who seeks it out because he's come to believe he is a monster himself - was an absolutely fascinating and genuinely original horror concept let down by repeated failures to realise its possibilities. The original short story (Cabal) was fun but cried out for further development, whilst the movie was a cheesy botch.

I guess Cradle of Filth might have felt the same way, because on Midian they decided to tackle this concept, and the resultant album is perhaps the most successful project ever to tackle the idea... though fundamentally, it's kind of a low bar. On Midian, the band more or less cease to toss in the odd motif from their black metal past, opting instead to play the style of blackened gothic metal the band developed on Dusk and Her Embrace and Cruelty and the Beast. We are now getting well into the realm of diminishing returns. Dani Filth now largely dials back the more intricate and poetic vocal performances he offered on Dusk, instead largely relying on various irritating schticks, and the backing musicians are going through the motions. So here, so for much of the rest of their career: this is the album where Cradle of Filth settled into a rut and decided to never leave.

arcane-beautiful This album seems to a landmark in Cradle's career, and here's why.

After the band had recieved success and controversy during the late 90's (with such campaign as the "Jesus is a c*** t-shirt, a BBC programme involving their bad behaviour and outraged parents and loads of other stupid things that they found funny), they had made a good bit of a name for themsevles. So with all this attention, releasing their first music video for "From The Cradle To Enslave", with a more approachable sound, the band were then spurted out onto the spotlight, making them the 2nd biggest metal band on the planet...apparently.

Now this album was able to keep their waning popularity and maintain still a big attraction. Why? Mainly cause the album is so damn good.

Yea...I mean it, this album is so good, it almost seems smug. Their's something quite magical about this album. You can pick holes at it all day, and you just kind of have to accept and surrender at the end, cause it's that good.

Now sound wise, the album is a bit different. Their isn't much "black metal" moments, and this is the album where Cradle really had adopted their own style. Taking extreme metal, gothic metal and adding their own unique style really payed off, and it's the Cradle sound we've all grown to love (or hate, depending on your own opinions).

Production wise, its a bit different. I was annoyed that their wasn't as much focus on keyboards, but to be honest, when their is, it pays off very well. The guitars are the main instrumental focus, with an odd sound to them. Their is a quite raw sound to the guitars, which bodes well to the music, cause over all the high production, their is that harkneing back to their older sound. And Dani's vocals really are amazing as usual, altough at times I feel he's still finding his voice, and he's experementing quite a bit on this album. The album is also the first for Doug Bradleys narration, and this time, he uses the Pinhead voice..killer!

As usual, the lyrics are as amazing as ever, with some really underlooked highlights on this paticular album. Oh and great artwork too.

1. At The Gates Of Midian - Great atmosphere and build up. One of the better Cradle intros. 9/10

2. Cthulhu Dawn - Wow what an intro. This organ riff always sends a tingle down my spine.It's just a perfect Cradle song. Really grabs you by the balls. Great vocals and lyrics from Dani. 10/10

3. Saffron's Curse - Great gothicy feel to it. Reminds me of Paradise Lost at times. I love how the song changes throughout. Great lyrics. 10/10

4. Death Magick For Adepts - The punky feel to this song is really kick ass. This is very different to a standard Cradle song. Really exciting with some killer riffs. The narration at the end is really eerie, but cool as hell. 10/10

5. Lord Abortion - Ok, this song is pretty cheesy, but to be honest, it just shows these guys dark and odd sense of humour. Comical, but who cares, its still a kick ass song.10/10

6. Amor E Morte - Another gothicy song. Killer riffs throughout. I also like the highlighted use of keys on this song. 9/10

7. Creatures That Kissed In Cold Mirrors - A nice plinky plonky interlude. 8/10

8. Her Ghost In The Fog - METAL CLASSIC! This is one motha of a song. Epic as hell, and highlighting all the reasons why I love metal...aggression, verocity...and beauty. Yes, the song is beautifully arranged, with beautiful female vocals, and some really beautiful lyrics. When that intro hits, and Doug Bradley sends ice shivers down your back, you know your in for a thrill ride. This was actually my first encounter with Cradle, when I was just 8. I was scared for my life, but interested like f***. 10/10

9. Satanic Mantra - I love this...that's all I'm going to say. 10/10

10. Tearing The Veil From Grace - Great use of female vocals, with the catchy melody. But don't let it fool you, it turns into one dark mothafu**a of a song. Nice lyrics too. 10/10

11. Tortured Soul Asylum - One of my secret favourite Cradle songs. What an ending this is. Dark as hell. Such a behemoth of a song. Very different and dark to the rest of the album. Incredibly exciting throughout. The vocals are some of Dani's highlights. The lyrics are also so very evil, with great use of profanities. 10/10

CONCLUSION: This wouldn't be my favourite Cradle album, but to be honest, it still is a marvel to behold. I will always enjoy listening to this album and it will always be part of my collection, and ring through my head.

8.7/10