Existence Is Futile

Exactly three years and one month after the release of Cryptoriana – The Seductiveness Of Decay, Cradle Of Filth have triumphantly returned with offering lucky number thirteen. Titled Existence Is Futile, the English group’s newest full-length eschews from traditional Lovecraftian inspired stories and mythological themes, to instead focus on tackling the gates of reality and existence, the dread and fear behind death and the unknown. To keep the concept somewhat loyal to precedent literary material, the record is magnified through an apocalyptic nature as Dani Filth takes inspiration from the one and only Aleister Crowley’s view on life and darkness. By observing the artwork representing the LP, one can clearly identify ghoulish figures enslaving and devouring human beings, with a destructive burning background signifying the apocalypse in a more physical manner in comparison to the philosophical thoughts conveyed throughout the record.

Since their unanimously glorified 2015 record Hammer Of The Witches, Cradle Of Filth have rekindled their deranged flame with an effective riff-driven approach that elegantly paves the way for grand sections of theatrics via symphonic leads, gothic charm and manic blackened undertones. This highly praised recent formula of theirs has proven to contribute to a sophisticated design of songwriting that constantly manages to balance between impressive technical abilities, addictive melodic arrangements and a sinister dark aura which subtly lures both goths and open-minded black metal fans. The album can be hypothetically divided into three main parts, each one inserted by a distinctive interlude seeking to defrost (or even ripen) the cold blizzard that was emerging from the bleakness and horror of each track. The first interlude “The Fate Of The Worlds On Our Shoulders” introduces to the record in a refined Cradle fashion, building on epic strings and orchestrations, as the musical piece signals the forthcoming of the apocalypse. The second interlude “Here Comes A Candle…” indicates a new time period as the apocalyptic era has been launched. This self-proclaimed “Infernal Lullaby” possesses a slightly morose feel as it advances with soothing yet frightening siren chants. Last but certainly not least, “Ashen Mortality” is undoubtedly the most wicked out of the bunch. It starts with an eerie Lyre slowly playing before the orchestral elements and ascending chants escalate into the front. The end has been initiated, and the demise of mortals is imminent as we will all sooner or later return to the dust and ashes from whence they came. The interludes ideally set the tone for the album’s conceptual progression and their presence is essential for the complete experience.

The intensity of the music begins with the opener “Existential Terror” , where we dive into the revelation of destruction via catchy thrash-laden riffs next to vampiric banshee vocals warning us of what’s to come. The energy of this song is incredible, I was either lip syncing, air guitar shredding or air drumming when listening to it, as was the case when listening to most of the album. The LP shines with a powerhouse of impeccable riffage that simultaneously makes you headbang and send shivers down your spine. The melodies, while always patented in a sweet and filthy sour signature sound, reflects here on a compositional process influenced by a new wave of British heavy metal background, you can hear Iron Maiden inspirited hooks as well as blackened Randy Rhodes stylized soloing. The classic sound is fulfilled with aristocratic orchestration, idiosyncratic symphonies, ominous narration and a gothic variety of female singing and Dani screaming, shrieking and growling over a palate of rich vocabulary infused lyrics. New recruit Annabelle Iratni replacing the lovely and dearly missed Lindsay Schoolcraft, tremendously convinces the listener that she deserves to belong with a multitude of talents, taking responsibility of the lyre, orchestration, keyboards and female vocals. In fact, she’s a member of Dani’s second project Devilment and I think she gave a much better instrumental output than the one heard in the previous release Cryptoriana. While I can confirm that the previous record was musically heavier than Existence Is Futile, it occasionally lacked a cohesive sound between the riffing and the gothic elements; the church sounding hymns and chants didn’t perfectly blend well with the overall music as it sometimes felt out of place and forced. In their 2021 release on the other hand, these majestic constituents portrayed more importance and attraction.

Although Cradle Of Filth don’t expand into new territories, their trademarked features are unmatchable as Mr. Filth is the trailblazing mastermind of a unique niche that can evidently be imitated yet never ever be replicated. With Existence Is Futile, they attempt to resuscitate their golden 90s to early 2000s days in a clever and modern manner. There’s heartwarming evil homages to the early beginnings of the band like The Principle Of Evil Made Flesh, Cruelty And The Beast and fan favorite Midian. It’s really an album that I would label all killer no filler. Including the two bonus tracks, you got yourself over an hour of magnetic intensity with flawless guitar work taking the starring role; take a bow Rich Shaw and Ashok, you two guitarists merit all the spotlight! Personal cherished tracks of mine would be the deliciously sugar-coated menacing beauty of the second single Necromantic Fantasies that seeps with Nymphetamine nostalgia, the aforementioned riff storm of opening track, the twists and turns ranging from melancholic black metal atmospheres to classic heavy metal spirit of “How Many Tears To Nurture A Rose?” accented by an emotional Dani Filth performance, the mindfully retrospective slowly paced ballad-like “Discourse Between A Man And His Soul”, the expressive and breathtaking lyrical conclusion in the cinematic closing track "Us, Dark, Invincible", the warfare draped “Black Smoke Curling From The Lips Of War” and the ecological message behind Suffer Our Dominion. The latter two in addition to “The Dying Of The Embers” made me reminiscent of the group’s 2008 release Godspeed On The Devil’s Thunder.

For purists that despise the mainstream success and beautified aesthetics that the Suffolk based group has accomplished, I can easily guarantee that they may find a thing or two that they can admire or at least appreciate from the band’s thirtieth full-length. Excluding the fact that Cradle Of Filth are an essential part of the symphonic black metal scene, serving as the quintessential gateway band for black metal, they’ve also convinced fans and critics alike that their musical craft goes beyond flashy gimmicks and edgy takeaways. For 30 years, they have built a legacy, keeping a consistency in sound quality and quantity, and emblazoned with a unique dynasty that have become an influence and inspiration to the new generation of gothic, symphonic and black metal bands. While some people hate their over-the-top image and the frontman’s ear screeching screams, those same people can easily admit that Cradle Of Filth masterfully showcase their worth with their skillful musicianship and diverse virtuosity. My only complaint is the lack of devilish song covers this band is known to excel in personalizing. Existence Is Futile supremely defines the soundtrack of a melodramatic apocalypse that can very well become a reality considering the current times we madly live in.

FFO: Graveworm, Carach Angren, Dimmu Borgir, Behemoth
Originally written for HeadbangersHaven.com