Metalheads and goths were out in force this Tuesday night to witness one of the most theatrical and controversial (we all remember that shirt!) bands in rock history as CRADLE OF FILTH arrived in Montreal on their “Cryptoriana World Tour” with support from Ukraine’s Jinjer and New York’s Uncured
Founded back in 1991, CRADLE OF FILTH is a British metal band whose major trademark of the band is the distinctive, somewhat bizarre and highly recognisable vocals of lead singer Dani Filth. Their current album, which was released in September 2017, is called ‘Cryptoriana – The Seductiveness of Decay’. Many fans feel it’s the band’s best album in a long time so expectations were certainly high for tonight’s performance. And it was a performance. CRADLE OF FILTH have been known to put on strong, dominating shows as they’ve progressed through the years, and tonight was no exception to that claim.
A little later than advertised, at around 9.30 pm the lights dimmed and band members appeared from the shadows, throwing the horns to the crowd. A large painted backdrop featuring Artūrs Bērziņš’s artwork adorned the stage and for drummer Martin Škaroupka, an acrylic glass “cage” awaited. Frontman Dani Filth wandered to the rear of the stage hidden beneath a hooded cloak before the charmingly titled Gilded Cunt from the Nymphetamine era sent a wave of nostalgic brutality through the crowd.
Tribute was paid to the Canadian bands that had influenced the band, from Annihilator to Voivod, which elicited huge cheers from the Corona Theatre crowd. As always with Dani, he performed in an impressive outfit with giant gothic-metal boots and a jacket with huge killer rivets. A theatrical outfit to complement the theatrical soundtrack. Beneath the Howling Stars saw maniacal head-banging guitarists and some impressive drumming from Škaroupka. The band’s sound is often given a more symphonic edge, mainly down to the vocals and keyboards of Oshawa, Canada’s own Lindsay Schoolcraft. This has long been their trademark and is a sound that sets them apart from many black metal bands. For me, it’s the symphonic part that I’m least fond of. I found myself physically cringing when Schoolcraft’s vocals came in on some songs and much prefer the heads-down all-out assault of their heavier side.
Again and again, huge jets of steam rose up between the guitarists, a really great effect that added to the drama on stage. Dani Filth’s broad English accent seems at odds with the music when he addresses the audience between songs but he’s a brilliantly engaging frontman and his signature piercing shrieks and faster, sharp vocals are a huge part of what makes Cradle Of Filth so unique.
A long encore with some haunting vocals from Schoolcraft on Nymphetamine demonstrated that some of the band’s most popular tracks are infinitely more powerful live than they are on record. From the Cradle to Enslave was a popular track to bring the evening to a climactic conclusion before everyone made their way back to the reality of the cold Montreal air outside.
Overall, tonight’s show was engaging and full of drama, however, there were times when the music didn’t vary enough and I felt the momentum begin to ebb. The almost-sold-out crowd would probably disagree with me and the repeated chant of “Cradle! Cradle!” proved that, even after all these years, Cradle Of Filth show no signs of slowing down any time soon.
Beneath The Howling Stars
Blackest Magick In Practice
Heartbreak And Seance
Bathory Aria: Benighted Like Usher / A Murder Of Ravens In Fugue / Eyes That Witnessed Madness
Dusk and Her Embrace
The Death of Love
You Will Know The Lion By His Claw
Creatures That Kissed In Cold Mirrors
A Bruise Upon The Silent Moon
The Promise of Fever
Her Ghost In The Fog
Born In A Burial Gown
From the Cradle to Enslave
Blooding The Hounds of Hell
Review & photos – Steve GerrardShare this :