The Principle of Evil Made Flesh

8.2分（22人评分）

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共14首歌曲

艺人: Cradle of Filth
语种: 英语
厂牌: Cacophonous
发行时间: 1994年02月24日
专辑类别: 录音室专辑

专辑介绍

成立于1992年，来自英国的CRADLE OF FILTH，成立伊始也正是斯堪地那维亚半岛的Black Metal 潮流风头正劲的时候。许多新乐队成立，但是谁也没有想到最后CRADLE OF FILTH能够在这种音乐领域中取得的成就。他们在短短的几年中迅速形成了自己的音乐风格，表演风格，甚至商业形象。据说CRADLE OF FILTH的形象在英国学生中的已经和其它任何摇滚明星没有任何区别。

一切都从这张“The Principle Of Evil Made Flesh”开始。在音乐风格上，他们在从之前的Death Metal 向 Black Metal风格过度。在吸取大量北欧Black Metal音乐元素的基础上，他们大量加入键盘。在这张专辑中，有四首演奏曲；除了极富旋律的键盘，还加入了高亢潦亮的管风琴和凄美的小提琴；在人声方面CRADLE OF FILTH也是别具特色，女声的高音演唱和低吟口白，仿佛是传说中的妖精缠绕在你周围... 这些不但没有甜蜜的感觉，反而加重了音乐的邪恶、淫荡、黑暗，随时都有可能在静谧中爆发出来的音乐给你危机四伏的感觉。而主唱Dani最让人印象深刻的是他那如深夜恶魔般的凄厉尖叫! 吉他的狂暴音色合着极速爆炸样的鼓点和以及刺耳的嘶裂惨叫后，来段让人动容的小提琴独奏，或者原声吉他Solo。一环扣一环，Hollywood电影式的发展情节，铺垫、发展、高潮、再铺垫... 唱片中的歌一曲接一曲，带来是一次又一次的听觉刺激。那时候他们还没有成名，在录音方面稍有欠缺。但这就好象是一个好的电影导演，在最初的时候并没有什么惊险大场面，但是拍摄手法和思路都已经非常成熟。听完这张唱片给人的印象就是“听”完了一部吸血鬼电影的录音，犹如到吸血鬼隐居的洞穴中游历了一番。而唱片的封面就象是这部电影的海报。

by John Serba

Cradle of Filth is most notorious for bringing respectability to the Norwegian black metal template, the band threatening to actually make the genre enjoyable, thanks to acceptable production values and an admirable songwriting ethic mostly absent among the early reptilian belchings croaked forth from dank Norse basements -- and Cradle is British to boot. Utilizing flowery classical flourishes, tangible melodies, nimble death/thrash riffing, a coherent -- albeit crushing -- rhythmic battery, and the deranged, multifaceted caterwaul of vocalist Dani Davey, The Principle of Evil Made Flesh brought a musical sensibility to the black metal table that was absent in early genre releases by Emperor, Enslaved, and Mayhem. Boasting a blatant goth influence -- i.e., lengthy keyboard intros, intermittent operatic female vocals, and Davey's black 'n' blood take on romantic poetry (in meter even!) -- and slightly tongue-in-cheek vampire and occult imagery, Cradle came across as a lean combination of key influences, including Venom, Iron Maiden, Bathory, Possessed, Celtic Frost, and Slayer, all spot-welded to the miscreant clatterings of Norway's finest. While "The Black Goddess Rises," "To Eve the Art of Witchcraft," and "The Forest Whispers My Name" are undeniably classic Cradle ragers, Principle, in retrospect, doesn't quite live up to the quality control exhibited on later records, the album leaving plenty of room for the group to grow into its studded S&M gear. Too often, Davey's vocals are reduced to generic death-puking or heavy-handed, Tom Warrior-style monotone narration, and the spiky guitar riffs of the title track and "A Crescendo of Passion Bleeding" are relatively primitive by CoF standards. Regardless, Principle made waves in the early black metal scene, putting Cradle of Filth on the tips of metalheads' tongues, whether in praise of the band's brazen attempts to break the black metal mold, or in derision for its "commercialization" of an underground phenomenon that was proud of its grimy heritage -- commercialization being a relative term within the genre's confines (the "sellouts" used professional studios, while the torch-bearers for "true black metal" apparently preferred to use the single-microphone-hung-from-the-garage-rafters recording method). A strong argument can be made that Norwegian acts, all viable artists in their own right, would have evolved into more coherent and inspired outfits regardless of Cradle's influence on the scene, but these zany Brits deserve credit for realizing how tight the genre's shackles could be, choosing to reach for more creatively satisfying vistas instead of clinging to the cave-dweller-banging-on-rocks method of black metal songwriting.

The Principle of Evil Made Flesh

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