After two excellent, reinvigorated albums in Hammer of the Witches and Crytoriana, Dani Filth and his hired gang of ever-changing musical mercenaries, took a step back with 2021, Existence is Futile, where the constant line-up changes, appeared to have taken its toll, mainly Lindsey Schoolcraft, who was settling into her role as the new Sara Jezebel Deva, left and was replaced by  Anabelle Iratni with middling results. 

Well, lo and behold we have more lineup changes (to go with a new record label – which makes Existence is Fultile‘s quality make more sense) as Dani goes through keyboard players like the Cleveland Browns go through quarterbacks. This time, the wife of guitarist Ashok, Zoe Federoff is the new keyboardist/female vocalist, joining new guitarist Donny Burbage (Aether Realm, ex-Vale of Pnath).  And this lineup appears to have gelled better than the lineup on Existence is Futile, as The Screaming Of The Valkyries is in line with the two aforementioned albums that preceded it. 

For the second album in a row, there is no overarching concept or theme, but the album still feels cohesive, and again Scott Atkins ensures, the sound is top-notch. Federoff is, if you can believe it on a Cradle album…rather understated, both her keyboards and vocally. In fact, you don’t notice her singing for an extended amount until the fourth song, “Non Omnis Morir”, which might be one of the band’s best ballad/ slow songs they have penned. Her keyboards are not nearly as overbearing and gothic as in the band’s past and vocally, she is far less operatic.

Song-wise, this album isn’t going to change your mind if you are a Cradle of Filth hater, but if you are a fan, Screaming delivers everything you want from a Cradle album over thirty years into their career. That said, the album does take a while to get going and truly shine.

Forgoing the usual lengthy atmospheric intro track, “To Live Deliciously” opens things up with a vicious thrashing (the increased thrash element is very much notable throughout the album) number, before “Demagoguery” highlights the big, crunchy Atkins production. Third song “The Trinity of Shadows” has a more commercial verse/chorus structure, and is one of the duller tracks the band has penned.

Then, in what was a real surprise, the track that sets the album off is the aforementioned ballad “Non Omnis Morir”, where Federoff delivers a seductive chorus, and might be of one the band’s more emotional songs of their career. Then as if on purpose, the next song “White Hellebore”, (which I am learning is a poisonous plant) comes crashing out the gates with a blistering blast beat, some classic 80s thrash riffage, and more of Federoff’s sultry vocals before it ends with some classic CoF moments. 

The excellent run of tracks continues with the labyrinthine, moody (if a little long)  “You Are My Nautilus”, which has a last third that’s pure CoF goodness.  “Malignant Perfection”, initially starts as a rather flat mid-paced number, but its second half imbues Cruelty and the Beast (with Federoff even doing a spot-on Deva impression for a spoken word part).

Then, the album ends with the albums two best tracks; “Ex Sanguine Draculae” is downright epic, with a plethora of moods and speeds, and arguably the band’s most melodic, slicing riffs in several albums, and ” When Misery Was a Stranger” is a fiercely sultry thrasher, that could have come from the band’s early catalog. Both are up there with the likes of “Yours Immortally”, “Blackest Magic in Practice”, “Vengeful Spirit”, “Achingly Beautiful” or ” Wester Vespertine” as absolutely top-notch tracks from the last few albums, if not better as both bring Federoff’s keys finally to the forefront a little more.

On the slight downside, the songs tend to run a little long, with most in the 6-7 minute plus range, but they have never been known for short sharp songs, what’s also noticeable is the lack of interludes/intros/ outros, a staple of the band’s albums. The songs all get right to it. Take that as you will.

As I mentioned earlier, this won’t change your mind if you’ve never liked Cof. It’s a damn solid 14th album, 30+ years into their career, despite some missteps. How many bands can say that? It certainly does not hurt the band’s legacy, nor add to or improve on the band’s early classic catalog. But what has? 

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