Cradle Of Filth: Cruelty And The Beast - Remastered/Remixed Edition (Music For The Nations)
Cruelty And The Beast is an album that needs little introduction. Cradle Of Filth’s iconic third, full-length concept album that tells of the life and crimes of Hungarian “Blood Countess” Elizabeth Bathory. I should probably take this opportunity to set out my stall, so to speak and say that this is not a review of Cruelty And The Beast. Eh? Well, 2019 will see the release of the Remistressed incarnation of this album; a remaster, for all intents and purposes but one that is the culmination of twenty plus two years of context, which I'll briefly cover in a moment. As for this review, well it’s a look at what this new release has to offer in terms of sound, experience and quality both from the perspective of comparison but also in terms of preserving the integrity and magic of the original we know and love. Cruelty And The Beast was released in 1998 through Music For Nations, it was the second album to be released through the UK label (albeit the first, Dusk… And Her Embrace was actually a re-recording of an album originally destined for Cacophonous).
It has long been regarded by many as the musical and creative pinnacle of the band’s early career and become something of a cult classic amongst fans of the genre. That said, it’s not been without its share of controversy and no subject has divided fans and opinion more than that of the production. Originally the task of Mike Exeter (Judas Priest), things became somewhat muddied when MFN recruited co-producer in the form of Jan Genkel (Therion). Whether or not it was a case of too many cooks spoiling this particular bloody broth, lack of a cohesive vision or something else, in any event, the result was lacklustre and the final sound drew criticism from fans and band members alike. Fast forward twenty plus almost two years (legal disputes we won’t speculate on here) and we have the anniversary edition of this record, imminently due for release. So, without further ado, let’s see just what Dani and Scott Atkins have been up to at Grindstone Studios.
Cradle Of Filth albums are known for their intros. I love an intro, why more bands don’t have them is a mystery to me, they are the perfect prologue, an opportunity to set the mood, allow the listener to relax into the character of the album. Once Upon Atrocity is one of the most awe inspiring and evocative intros to any of the Cradle Of Filth albums and it’s here, intact in its true unholy form. You can tell there's been a tinkering with the dynamics as the change from track one to two is not quite as seamless as it used to be. There's a slight drop in pitch between the two that probably could have been ironed out with a little more attention, but equally it's not something particularly noticeable to anyone not intimately familiar and certainly nothing to get hung up on.
Thirteen Autumns And A Widow kicks off with two immediately noticeable changes, drums and synths. These two aspects, along with the third being the backing vocals get most attention throughout. Drums first: gone is the quiet, subdued, tinny and frankly, quite sorry sound of the original drumming. Ask any honest fan of this album and despite holding a sympathetic love and nostalgia for the original master, will eventually admit they were something of a let-down and sold the record short of what it could have been. Lecter’s synth work on Cruelty And The Beast was nothing short of brilliant and so critical to building the atmosphere that flowed generously from its open veins. The synths here are fresh, revitalised; yes, there's something new afoot and it’s lifted the sound without being obtusely divergent or too auditorily invasive to one accustomed to the original. This certainly bodes well for what’s to follow and will allay any fears listeners may have had over the purpose of this release.
Cruelty Brought Thee Orchids is not only my favourite song on this album but one of my favourite songs by this band altogether. So as the second track ends and we enter the few moments of pause before it starts, I'm full of nervous anticipation. Cue those timeless words "Here me now, all crimes should be treasured if they bring thee pleasure somehow". The introduction subsides and we’re thrown face first into the full impact of this remaster; it’s bigger, fuller, more forceful. The guitar melodies from 0:55 to 1:21 appear to have been enhanced which is great, this was one of the more beautiful aspects of this song which was easily lost in the original mix, in amongst the general blur and poor balance of the instrumentals. The drum triplets that kick in at 2:05, again one of the more subtle intricacies of this song, now sound far more prominent and draw real attention to Nick’s signature style.
The chuggy riff from 2:48 sounds heavier and nastier; always one of the highlights of this track now even more enjoyable than before. When Sarah's vocals kick in at 3:02 I find myself thinking two things. Firstly, how clear and appreciated they now sound; what a relief. Secondly, what are they doing here at all? They're sixteen seconds too early! That's right, previously muted out backing vocals have been turned right up and given an extra couple of bars. Not just here either, at 4:12 there is a whole previously unheard vocal passage that sounds perfectly in place, like it always should have been there. Indeed it should; I do recall many years ago, Sarah expressed a very honest dislike of the original production for this very reason, so it's good that her and Danielle’s voices can finally be appreciated here.
Beneath The Howling Stars; immediately you’ll notice an enhancement to the synth in the opening seconds. Robin’s bass seems to have been turned right down; not sure how I feel about this as it was such a prominent characteristic of the original (despite being almost entirely lost for the rest of the songs). It’s still there in discernable form, but doesn’t stick out quite in the way it used to. The drums sound super clean here and as we get to 1:40 (the best part of this song) the full potential of the composition finally shines through. Stuart and Gian’s guitars are front and centre, which is a very good thing as this is one of the richest melodic passages of the whole album; it sounds fantastic. The next best bit, at 2:47 remains wholly intact and very close to its virgin form. It’s worth pointing here that despite renovation being the main purpose behind this release, not all aspects of this album needed to be changed. Part of the overall success here can be attributed to the clever way in which change has been applied selectively. It doesn’t feel like change has been used for its own sake which is a huge relief; ain’t broke don’t fix it etc.
That said, there is a marked boost to the drum roll at 3:48 before moving into the bridge from 4:11 to Sarah’s vocals, the piano sounds cleaner, this together with the augmented double bass from 4:32 makes for a far more cohesive passage. The alternate background effect from 4:55 sounds like ominous winds howling (and continues all the way to 5:22), it fits perfectly. Again, as we loop back at 5:41, once more noticing the lack of bass, but this time it feels like a far more natural omission. The original version created something of an odd staccato effect with its overt pronunciation, which having heard it so many times it sounded normal, but now hearing it like this I actually quite like it. You’ll really sit up at 7:02, this whole conclusion sounds totally different. The guitars have been brought right to the fore, as have the keys, drums and bass lowered right down which really allows the melody to close out this song, a great ending.
Venus In Fear I'm pleased to report remains untouched. An odd track to have to explain to anyone in the outside world for sure, but a stroke of genius as far as this album is concerned. Desire In Violent Overture sounds largely the same (except of course for the drums) until 0:54, here the synths sound a little grander and cleaner. Where this song does really benefit from the returning of those drums of course, is at 1:30 when that double bass kicks in, meaning this whole section now has a richer, more dense texture and of course the melody is more than capable of handling the extra load. Other than that I don't feel loads has been done to this track thankfully, the drum triplets at 2:54 do sound great though. Again, they were such a strong feature of the original, it's good to hear them as nature (or Nick) intended. Danielle’s narration as the young countess sounds as evil and sexy as ever. As the shortest and fastest track on the album it hasn’t lost any of its bite or impact.
Twisted Nails Of Faith starts much as everyone will know and love; the spooky combination of Ingrid Pitt’s narration and those dark synth effects. There's no major change at all until 1:01 when the new, improved drums kick in. Again, those tight little triplets at 1:21, are so pleasing to mine ears. They continue at 2:03 with all instrumentals (bar synth) stripped back and it’s at this moment you realise just how much of this album is really complemented by the strength of Nick's drumming. I avoid use of the word carried intentionally here, as this is not in any way to say that other components are so imperfect, but I suppose serves to highlight how much this remaster was needed. The original was a bit like having a sports car on trolley wheels. That one area of deficiency actually choked the performance of most other aspects. Now it's been made right you can finally enjoy squeezing every last drop of its abundant potential. 2:40 through 3:20 sounds one hundred percent bigger, a slight rebalancing of the levels and everything fits in its natural order.
Both guitars appear to have been lifted slightly, bass and drums more in harmony with each other to great effect. Although I do feel like this has left the blast beat at 3:40 a little stifled; this particular beat was such a dominant feature of this passage that it could have done with being brought out a little more. Now for the best bit of this track, which starts to build in crescendo from 4:11. Again, much like 2:03 with everything stripped back and drums back at the front, you're really appreciating the new sound and it makes this gradual accumulation even more satisfying; all the way to that beautiful climax at 5:04. Let's pause for a moment to appreciate it. In the original version it was one of the single most transcendental and euphoric enactments of the entire album. I'm glad to say not that much has materially changed here, besides the lift in the drums and a bit of a general pick up it’s stayed very true to its glorious, native form.
Bathory Aria is probably one of the more obvious benefactors of drums 2.0. For the most part of the introductory 1:29 it's a relatively superficial change. It’s at 1:30 that the first Oh Wow moment strikes. The new dynamics of the instrumentals have really opened up the sound allowing it to take on an appropriately grand persona that is vast but balanced. From here on it builds to continue the gradual reveal of its final evolutionary form. Like many of the songs, it's very much the same at heart, but more mature, bigger, wiser, better and just so satisfying to hear. Once more the backing vocals have been given some real care and attention, they clearly shine through now in several passages where before they were nigh inaudible endowing a subtle elegance on Benighted Like Usher. For such a complex piece of music and all the many facades of this particular composition, the production does well to keep so much of the original integrity intact. As we move away from A Murder Of Ravens In Fugue, the chords at 6:56 that take us to Eyes That Witnessed Madness sound heavier and stronger and more purposeful. I was relieved to hear that in spite of the new sound the drum rolls from 7:23 to 7:36 and from here on to the end of the track have kept that original haunting, echoey quality that made them sound like they were being played from inside the Countess' Castle itself.
Portrait Of The Dead Countess is included in the running, having not made the cut on some previous editions. Again, this track appears to remain unchanged. Lustmord And Wargasm starts with those familiar, achingly eerie synths and as I listen I’m hoping that this song remains for the most part, unchanged. At 0:55 it kicks in and relief washes over me. It's the same song, with proper drums. The vocal track appears to have been slightly tweaked and balanced in adjustment to the fuller sound, but besides that this is the song I know and love. When THAT riff kicks in at 2:30 it sounds deliciously heavy and oh so satisfying. The synth passage at 3:56 (one of the best on the album in my opinion) feels somewhat rejuvenated and the backing vocal track has been brought forward a little which only aids the crescendo to the scream at 4:50, a slight enhancement to the echo in the narration. This leads into maybe the most noticeable change to this track which comes in the returning of the synthesised organ from 5:35 to 6:06 and the layered, spoken words over the top which have been bulked out a bit. None of this detracts from the energy or feel of this track, it’s still the same untamed, ferocious beast, just with a minor facelift.
Hallowed Be Thy Name was an odd choice in my opinion for this release. Not to say it’s not a great cover; it’s probably one of the stronger covers Cradle have ever put out. It's another song that suffered from the same lacklustre production as the rest of the Cruelty album. But I can't say I ever sat listening to it and thought, this really needs a remaster. Honestly, I'd probably rather have heard the other tracks from the special edition of Cruelty And The Beast reworked but I'm not going to complain. Perhaps if could have had whatever I wanted I’d ask for this to have come with an all new cover of Countess Bathory but I’m digressing with some vigour. Besides, I'm here to critique the quality of the revised production to not to quibble over track listing. Again, the drums sound how they should, albeit the impact of the change is maybe lessened given the slower pace of the track compared to the general tempo of Cruelty And The Beast.
But there we have it, almost two years in the waiting and finally I can listen to one of my favourite albums in its full, uninhibited form. The original will always have a place in my heart and on my turntable, with all its imperfections it’s become a comfort and friend over the years. Many memories and associations hang on its cobwebbed rafters that I'm not going to give up so easily; but it’s not until you hear this Remistressed version, in its full bloody glory that you’ll appreciate how badly this undertaking and effort was needed. If not to replace the original, then to shine light on the many forgotten aspects of the music and vocals that were just simply not there before, marred by the imbalance of its former self. Furthermore, when everything is presented in its corrected harmony the catalytic effect on the overall experience is quite amazing. 9/10
Cruelty And The Beast is an album that needs little introduction. Cradle Of Filth’s iconic third, full-length concept album that tells of the life and crimes of Hungarian “Blood Countess” Elizabeth Bathory. I should probably take this opportunity to set out my stall, so to speak and say that this is not a review of Cruelty And The Beast. Eh? Well, 2019 will see the release of the Remistressed incarnation of this album; a remaster, for all intents and purposes but one that is the culmination of twenty plus two years of context, which I'll briefly cover in a moment. As for this review, well it’s a look at what this new release has to offer in terms of sound, experience and quality both from the perspective of comparison but also in terms of preserving the integrity and magic of the original we know and love. Cruelty And The Beast was released in 1998 through Music For Nations, it was the second album to be released through the UK label (albeit the first, Dusk… And Her Embrace was actually a re-recording of an album originally destined for Cacophonous).
It has long been regarded by many as the musical and creative pinnacle of the band’s early career and become something of a cult classic amongst fans of the genre. That said, it’s not been without its share of controversy and no subject has divided fans and opinion more than that of the production. Originally the task of Mike Exeter (Judas Priest), things became somewhat muddied when MFN recruited co-producer in the form of Jan Genkel (Therion). Whether or not it was a case of too many cooks spoiling this particular bloody broth, lack of a cohesive vision or something else, in any event, the result was lacklustre and the final sound drew criticism from fans and band members alike. Fast forward twenty plus almost two years (legal disputes we won’t speculate on here) and we have the anniversary edition of this record, imminently due for release. So, without further ado, let’s see just what Dani and Scott Atkins have been up to at Grindstone Studios.
Cradle Of Filth albums are known for their intros. I love an intro, why more bands don’t have them is a mystery to me, they are the perfect prologue, an opportunity to set the mood, allow the listener to relax into the character of the album. Once Upon Atrocity is one of the most awe inspiring and evocative intros to any of the Cradle Of Filth albums and it’s here, intact in its true unholy form. You can tell there's been a tinkering with the dynamics as the change from track one to two is not quite as seamless as it used to be. There's a slight drop in pitch between the two that probably could have been ironed out with a little more attention, but equally it's not something particularly noticeable to anyone not intimately familiar and certainly nothing to get hung up on.
Thirteen Autumns And A Widow kicks off with two immediately noticeable changes, drums and synths. These two aspects, along with the third being the backing vocals get most attention throughout. Drums first: gone is the quiet, subdued, tinny and frankly, quite sorry sound of the original drumming. Ask any honest fan of this album and despite holding a sympathetic love and nostalgia for the original master, will eventually admit they were something of a let-down and sold the record short of what it could have been. Lecter’s synth work on Cruelty And The Beast was nothing short of brilliant and so critical to building the atmosphere that flowed generously from its open veins. The synths here are fresh, revitalised; yes, there's something new afoot and it’s lifted the sound without being obtusely divergent or too auditorily invasive to one accustomed to the original. This certainly bodes well for what’s to follow and will allay any fears listeners may have had over the purpose of this release.
Cruelty Brought Thee Orchids is not only my favourite song on this album but one of my favourite songs by this band altogether. So as the second track ends and we enter the few moments of pause before it starts, I'm full of nervous anticipation. Cue those timeless words "Here me now, all crimes should be treasured if they bring thee pleasure somehow". The introduction subsides and we’re thrown face first into the full impact of this remaster; it’s bigger, fuller, more forceful. The guitar melodies from 0:55 to 1:21 appear to have been enhanced which is great, this was one of the more beautiful aspects of this song which was easily lost in the original mix, in amongst the general blur and poor balance of the instrumentals. The drum triplets that kick in at 2:05, again one of the more subtle intricacies of this song, now sound far more prominent and draw real attention to Nick’s signature style.
The chuggy riff from 2:48 sounds heavier and nastier; always one of the highlights of this track now even more enjoyable than before. When Sarah's vocals kick in at 3:02 I find myself thinking two things. Firstly, how clear and appreciated they now sound; what a relief. Secondly, what are they doing here at all? They're sixteen seconds too early! That's right, previously muted out backing vocals have been turned right up and given an extra couple of bars. Not just here either, at 4:12 there is a whole previously unheard vocal passage that sounds perfectly in place, like it always should have been there. Indeed it should; I do recall many years ago, Sarah expressed a very honest dislike of the original production for this very reason, so it's good that her and Danielle’s voices can finally be appreciated here.
Beneath The Howling Stars; immediately you’ll notice an enhancement to the synth in the opening seconds. Robin’s bass seems to have been turned right down; not sure how I feel about this as it was such a prominent characteristic of the original (despite being almost entirely lost for the rest of the songs). It’s still there in discernable form, but doesn’t stick out quite in the way it used to. The drums sound super clean here and as we get to 1:40 (the best part of this song) the full potential of the composition finally shines through. Stuart and Gian’s guitars are front and centre, which is a very good thing as this is one of the richest melodic passages of the whole album; it sounds fantastic. The next best bit, at 2:47 remains wholly intact and very close to its virgin form. It’s worth pointing here that despite renovation being the main purpose behind this release, not all aspects of this album needed to be changed. Part of the overall success here can be attributed to the clever way in which change has been applied selectively. It doesn’t feel like change has been used for its own sake which is a huge relief; ain’t broke don’t fix it etc.
That said, there is a marked boost to the drum roll at 3:48 before moving into the bridge from 4:11 to Sarah’s vocals, the piano sounds cleaner, this together with the augmented double bass from 4:32 makes for a far more cohesive passage. The alternate background effect from 4:55 sounds like ominous winds howling (and continues all the way to 5:22), it fits perfectly. Again, as we loop back at 5:41, once more noticing the lack of bass, but this time it feels like a far more natural omission. The original version created something of an odd staccato effect with its overt pronunciation, which having heard it so many times it sounded normal, but now hearing it like this I actually quite like it. You’ll really sit up at 7:02, this whole conclusion sounds totally different. The guitars have been brought right to the fore, as have the keys, drums and bass lowered right down which really allows the melody to close out this song, a great ending.
Venus In Fear I'm pleased to report remains untouched. An odd track to have to explain to anyone in the outside world for sure, but a stroke of genius as far as this album is concerned. Desire In Violent Overture sounds largely the same (except of course for the drums) until 0:54, here the synths sound a little grander and cleaner. Where this song does really benefit from the returning of those drums of course, is at 1:30 when that double bass kicks in, meaning this whole section now has a richer, more dense texture and of course the melody is more than capable of handling the extra load. Other than that I don't feel loads has been done to this track thankfully, the drum triplets at 2:54 do sound great though. Again, they were such a strong feature of the original, it's good to hear them as nature (or Nick) intended. Danielle’s narration as the young countess sounds as evil and sexy as ever. As the shortest and fastest track on the album it hasn’t lost any of its bite or impact.
Twisted Nails Of Faith starts much as everyone will know and love; the spooky combination of Ingrid Pitt’s narration and those dark synth effects. There's no major change at all until 1:01 when the new, improved drums kick in. Again, those tight little triplets at 1:21, are so pleasing to mine ears. They continue at 2:03 with all instrumentals (bar synth) stripped back and it’s at this moment you realise just how much of this album is really complemented by the strength of Nick's drumming. I avoid use of the word carried intentionally here, as this is not in any way to say that other components are so imperfect, but I suppose serves to highlight how much this remaster was needed. The original was a bit like having a sports car on trolley wheels. That one area of deficiency actually choked the performance of most other aspects. Now it's been made right you can finally enjoy squeezing every last drop of its abundant potential. 2:40 through 3:20 sounds one hundred percent bigger, a slight rebalancing of the levels and everything fits in its natural order.
Both guitars appear to have been lifted slightly, bass and drums more in harmony with each other to great effect. Although I do feel like this has left the blast beat at 3:40 a little stifled; this particular beat was such a dominant feature of this passage that it could have done with being brought out a little more. Now for the best bit of this track, which starts to build in crescendo from 4:11. Again, much like 2:03 with everything stripped back and drums back at the front, you're really appreciating the new sound and it makes this gradual accumulation even more satisfying; all the way to that beautiful climax at 5:04. Let's pause for a moment to appreciate it. In the original version it was one of the single most transcendental and euphoric enactments of the entire album. I'm glad to say not that much has materially changed here, besides the lift in the drums and a bit of a general pick up it’s stayed very true to its glorious, native form.
Bathory Aria is probably one of the more obvious benefactors of drums 2.0. For the most part of the introductory 1:29 it's a relatively superficial change. It’s at 1:30 that the first Oh Wow moment strikes. The new dynamics of the instrumentals have really opened up the sound allowing it to take on an appropriately grand persona that is vast but balanced. From here on it builds to continue the gradual reveal of its final evolutionary form. Like many of the songs, it's very much the same at heart, but more mature, bigger, wiser, better and just so satisfying to hear. Once more the backing vocals have been given some real care and attention, they clearly shine through now in several passages where before they were nigh inaudible endowing a subtle elegance on Benighted Like Usher. For such a complex piece of music and all the many facades of this particular composition, the production does well to keep so much of the original integrity intact. As we move away from A Murder Of Ravens In Fugue, the chords at 6:56 that take us to Eyes That Witnessed Madness sound heavier and stronger and more purposeful. I was relieved to hear that in spite of the new sound the drum rolls from 7:23 to 7:36 and from here on to the end of the track have kept that original haunting, echoey quality that made them sound like they were being played from inside the Countess' Castle itself.
Portrait Of The Dead Countess is included in the running, having not made the cut on some previous editions. Again, this track appears to remain unchanged. Lustmord And Wargasm starts with those familiar, achingly eerie synths and as I listen I’m hoping that this song remains for the most part, unchanged. At 0:55 it kicks in and relief washes over me. It's the same song, with proper drums. The vocal track appears to have been slightly tweaked and balanced in adjustment to the fuller sound, but besides that this is the song I know and love. When THAT riff kicks in at 2:30 it sounds deliciously heavy and oh so satisfying. The synth passage at 3:56 (one of the best on the album in my opinion) feels somewhat rejuvenated and the backing vocal track has been brought forward a little which only aids the crescendo to the scream at 4:50, a slight enhancement to the echo in the narration. This leads into maybe the most noticeable change to this track which comes in the returning of the synthesised organ from 5:35 to 6:06 and the layered, spoken words over the top which have been bulked out a bit. None of this detracts from the energy or feel of this track, it’s still the same untamed, ferocious beast, just with a minor facelift.
Hallowed Be Thy Name was an odd choice in my opinion for this release. Not to say it’s not a great cover; it’s probably one of the stronger covers Cradle have ever put out. It's another song that suffered from the same lacklustre production as the rest of the Cruelty album. But I can't say I ever sat listening to it and thought, this really needs a remaster. Honestly, I'd probably rather have heard the other tracks from the special edition of Cruelty And The Beast reworked but I'm not going to complain. Perhaps if could have had whatever I wanted I’d ask for this to have come with an all new cover of Countess Bathory but I’m digressing with some vigour. Besides, I'm here to critique the quality of the revised production to not to quibble over track listing. Again, the drums sound how they should, albeit the impact of the change is maybe lessened given the slower pace of the track compared to the general tempo of Cruelty And The Beast.
But there we have it, almost two years in the waiting and finally I can listen to one of my favourite albums in its full, uninhibited form. The original will always have a place in my heart and on my turntable, with all its imperfections it’s become a comfort and friend over the years. Many memories and associations hang on its cobwebbed rafters that I'm not going to give up so easily; but it’s not until you hear this Remistressed version, in its full bloody glory that you’ll appreciate how badly this undertaking and effort was needed. If not to replace the original, then to shine light on the many forgotten aspects of the music and vocals that were just simply not there before, marred by the imbalance of its former self. Furthermore, when everything is presented in its corrected harmony the catalytic effect on the overall experience is quite amazing. 9/10