One of the reasons why I think CoF has continued to deliver solid records over the years is because of Dani’s gothic outlet, Devilment. There was a time in the early 2000s when CoF’s style started to get far too gothy for my taste (looking at you, Nymphetamine). However, since the inception of Devilment, CoF has refocused on the heavier aspects used for the last thirty years. Sure, the goth is still there (and always will be), but the heaviness of their output continues to surprise me. The Screaming of the Valkyries is no different as it combines chunky riffs with gorgeous leads, haunting orchestrations with punchy choruses, and Dani’s unmistakable shrieks. But, being their 14th full-length release, where does The Screaming of the Valkyries stand with the rest of their catalog?
The Screaming of the Valkyries kicks off nicely with the tasty opener, “To Live Deliciously.” After setting the scene with some orchestration and church chants, it explodes into a punishing riff and a catchy vocal arrangement. Mixing aggression with melody, this song is one of the album highlights, delivering gothy hooks and headbangable action from beginning to end. The other album’s bookend is also intriguing but in a different way. While the opener sports CoF’s classic, mid-career, sing-along songwriting style, “When Misery Was a Stranger” is a blast-in-the-past piece that conjures up memories of Dusk and Her Embrace. It’s got that symphonic sound when the genre was in its prime while incorporating their newer, thrashier side. It also includes gorgeous female vocals that add incredible depth to the melodic chorus and drum work that rattles its foundation.
Other tracks of interest include “White Hellebore” and “Malignant Perfection.” The first acts as the album’s beauty-and-the-beast number, while “Malignant Perfection” incorporates everything CoF stands for, including being home to one of the best choruses on the album. For how much beauty there is in “White Hellebore,” it can still get the ole noggin’ moving with its classic, heavy metal gallop and ever-shifting riff changes. As with most CoF albums, this track exposes ballady vibes as the male and female vox take turns contributing to the melodic chorus. “Malignant Perfection” is a creeping, haunting piece that uses heavy doses of keys, bass, and drums to set the mood. It’s a building piece whose sole purpose is making its way to the massive chorus and its powerful female support. It also provides the lyrical line “mass erection,” which I strongly support.1
Some issues surrounding this new release are the lengthy “You Are My Nautilus” and “Ex Sanguine Draculae.” This is odd because CoF are not novices to long songs that fall and rise like the Carpathian mountains. Hell, Cryptoriana (The Seductiveness of Decay) is nothing but lengthy, winding tracks. But, “You Are My Nautilus,” in particular, shapeshifts so much that I’m lost halfway through it. It’s a meandering number with no real direction that is easily dismissed in favor of “Malignant Perfection.” Minus these songs, the production is clean and clear, letting the typically forgotten bass guitar shine at times. The drums kick some major ass and the dueling guitar work brings some old-school character to the record. Zoe Marie Federoff is also a great addition to the band, balancing nicely with Dani without being awkwardly operatic. I can’t put The Screaming of the Valkyries on top of any of the albums mentioned earlier, but it’s a solid outing that fans will enjoy.
Rating: 3.0/5.0
DR: Stream | Format Reviewed: Stream
Label: Napalm Records
Websites: cradleoffilth.bandcamp.com | cradleoffilth.com | facebook.com/cradleoffillth
Releases Worldwide: March 21st, 2025
