Released:  April 22nd, 1996

Recorded:  December 1995 – January 1996

Genre:  Black Metal, Symphonic Black Metal

Record Label:  Cacophonous

Duration:  36:24

Producer:  Robert “Mags” Magoolagan

[expand title=”Personnel” trigpos=”above” tag=”h22″](Regular band members in bold.)

• Dani Filth – lead vocals
• Stuart Anstis – guitars
• Robin Graves – bass
• Damien Gregori – keyboards
• Nicholas Barker – drums
• Sarah Jezebel Deva – backing vocals
• Danielle Cneajna Cottington – backing vocals
• “Rachel” – backing vocals [/expand]

[expand title=”Track Listing” trigpos=”above” tag=”h22″]

1. Ebony Dressed for Sunset
2. The Forest Whispers My Name
3. Queen of Winter, Throned
4. Nocturnal Supremacy
5. She Mourns a Lengthening Shadow
6. The Rape and Ruin of Angels (Hosannas in Extremis) [/expand]

[expand title=”Singles” trigpos=”above” tag=”h22″]

None!  [/expand]

Why V Empire or Dark Faerytales in Phallustein is One of My Favorites

Yet another Cradle of Filth record finds its way onto my list, and another EP at that.  V Empire or Dark Faerytales in Phallustein, or Vempire as I’ll be calling it for short, had every reason not to be the awesome record that it ended up being.  Sometime back in 1995 or so, the band had begun recording a good deal of material for what they planned to be their second album, Dusk… And Her Embrace.  Before they could finish it, however, they ran into legal complications with their then-record label Cacophonous.  Instead of continuing work on Dusk, they elected to fulfill their contractual obligation by recording a short EP, intending to release Dusk after settling on another record label.  Vempire was the result of these speedy sessions, which freed them from Cacophonous and allowed them to re-record what would become Dusk for new label Music for Nations.

So Vempire served a dual purpose.  Not only did it let them move away from Cacophonous, but it also prevented them releasing Dusk on Cacophonous.  With a record that basically served as a commodity and almost as a sacrifice for Dusk, it’s easy to imagine that Vempire would be total crap, right?  Surprisingly, it’s not only not crap, but it’s also just as strong as its surrounding releases.  Perhaps the pressure of recording something so quickly actually helped the guys to focus and run with ideas more rapidly…I don’t know for sure, but it’s Cradle of Filth at their best.

Possibly due to the time constraints they still haven’t included all the symphonic elements that would later become the norm.  Dani’s voice is still evolving though he’s gotten much closer to his signature screech; this can best be heard in their re-recording of “The Forest Whispers My Name” from The Principle of Evil Made Flesh.  The grande, cinematic quality of the music begins to take shape on Vempire, while also harnessing the speed and intensity of Principle.  Production has taken an appreciable leap forward, removing some of the rawness, though it’s still noticeably muddier than anything from the 2000’s or beyond.

At 36 minutes, Vempire is a fairly brief record by Cradle of Filth standards, and with most of the music moving at blazing speeds, it’s one of the best paced Cradle records of them all.

“Ebony Dressed for Sunset” opens the album with pummeling drums and eerie choral effects while Dani growls and grumbles.  “The Forest Whispers My Name” was re-recorded for Vempire, though it still stands as a relatively straightforward song.  It’s fun comparing the 2 versions to see how far the band has come in a couple of years.

“Queen of Winter, Throned” is the  epic, sprawling piece on the album, and includes screeching, growling, female vocals, changes in tempo, and everything else that would go on to make their work sound so vast.  “Nocturnal Supremacy” brings us back to black metal with its blistering pace and trailing guitar solo.  “She Mourns a Lengthening Shadow” is instrumental, embracing strings and an organ to create a sad, somewhat menacing tone.

“The Rape and Ruin of Angels” has become a Cradle of Filth classic since its humble origins on Vempire.  Relentless blast beats pound away for the first half, accompanied by some of Deva’s most aggressive vocals during her time with the group.  Dani’s screech feels fully formed here, and symphonic/operatic elements are gradually introduced during the second half, setting the groundwork for much of what Dusk… And Her Embrace would sound like.

What could’ve been a throwaway record (and perhaps forgivably so considering their legal troubles and that they intended to save what they felt was their stronger material for a more stable contract) turned out to be one of the best offerings of their catalog.  I’m fond of all of these earlier Cradle releases, but for different reasons.  Dusk, to me, feels like the most fully-formed representation of their idea and their concept, while Principle displays a level of rawness and talent that made black metal “popular” to begin with.  Vempire may not be as ornately composed and structured as Cradle’s later work, but it’s got that same drive and ferocity as Principle with better production values.  The same ferocity began to evolve into schtick as the years wore on and it’s nice to see the band taking their music seriously even if what they’re choosing to take seriously is steeped in fantasy.  It gives the music a certain energy that begins to dissipate as these artists mature.

Like the rest of Cradle of Filth’s work, this music will be too heavy, too dark, maybe even too damn weird for a lot of people, but as far as the extreme end of metal goes, they demonstrate just how musically complex and intricate that these ultra-heavy styles can be, and talent alone helps them soar over the vast majority of not only similar acts, but extreme metal musicians in general.

Written by The Cubist

Other albums from Cradle of Filth in this series:

• 1994 – The Principle of Evil Made Flesh – Issue #66
• 1996 – Dusk… And Her Embrace – Issue #20
• 1999 – From the Cradle to Enslave – Issue #67

Back to The Cubist’s 90’s Albums