Slipknot-joey wrote:Qato e kan votu ekspertat, e jo njerzit e thejsht. Une e di qe dallon cof prej death, po me do kang munesh me i than qe knon edhe death, black, edhe gothic
outtopic,
slipknot-joey, ok lexo qito ma posht:
(nese nuk din anglisht, ta peprkthej shqip)Cradle of Filth were never black metal, although mistaking them for black metal is a somewhat understandable error for someone ignorant of the genre. To begin, Cradle Of Filth's artistic focus should come into question. Cradle Of Filth's main themes have almost always dealt with "gothic" eroticism, vampire lust, the embrace of darkness as a romantic value, and the exaltation of all things female, a concept whose origins in this case lie directly with the commercialized "goth" movement of the 1990s. These themes, especially expressed through vague existential reflection and overly sentimental gothic images, have never experienced a common place in black metal. A small handful of anti-Christian songs aside, Cradle Of Filth's artistic intent is far removed from black metal; Cradle Of Filth are aiming for something more populist, especially given Cradle Of Filth's incessant interest in gaining commercial accessibility (culminating with several MTV appearances and a touring position in the commercial festival "Ozzfest,") a goal that smashes their genuineness in relation to black metal and it’s ideas. Listening to Graveland, Burzum, or Beherit, and then playing Cradle Of Filth's "Bitter Suites To Succubi" or "Midian" in comparison should easily reveal the differences in expressive intent.
While artists all over Europe were creating innovative black metal during the period of 1990-1992, Cradle Of Filth were still churning out typical death metal. They have tried expressive elements from nearly every genre of metal throughout their career, mainly to get credibility wherever they could find it by attempting to capture the interest of various fanbases throughout the 1990s (not the least of which is the nu-metal era shock rock and “goth” trend oriented crowd.) Tremolo riffing and screeched vocals marked their attempt to jump onto (what appeared to be at the time) the European black metal bandwagon on “The Principle Of Evil Made Flesh” and “Dusk And Her Embrace,” while female backing vocals, songwriting hooks, and pervasive keyboard work pervaded for awhile in an effort to sound more clinically “gothic” (“Bitter Suites,” “Midian.”) When the charade ran its course, Cradle Of Filth tried to return to writing death metal in order to gain more listeners in a waning metal fanbase on “Damnation In A Day.” In short, Cradle Of Filth are admitted entrepreneurs in the popularity industry, and black metal is now more than likely far out of their sphere of concern.