Thornography

9.2分（58人评分）

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共3首歌曲

艺人: Cradle of Filth
语种: 英语
厂牌: Roadrunner
发行时间: 2006年10月17日
专辑类别: 录音室专辑

专辑介绍

独树一格的『吸血鬼派黑暗金属』掌门人Cradle Of Filth(以下简称COF)，其敲打着厚重金属声响，毫无畏惧主流市场沉重压力，决不向商业靠拢的曲式走向理念，不仅在短时间内打动一群地下独立金属派系顽抗份子，更受到主流大厂钦点邀约旗下，出现于各大金属音乐祭的主舞台，与重量级老牌团体一较高下。COF那充满邪气的独特魅力，夹带着交响音韵与哥德式的冷调气息，搭配出吸血鬼妖姬神秘却具有吸引力的文学词藻，促使他们成为90年代金属风暴中少数能攻入全球国际舞台、冲破流行禁区，登上美国主流榜行列的重装摇滚部队。

披着一身阴森气息的英国乐团COF，是由主唱Dani Filth所领军，原始团员还包括吉他手与键盘手兄弟Paul & Benjamin Ryan，与贝斯手John Richard和鼓手Darren，随着接连三张DEMO的发行，团员间也有三次小幅更动。即使自1994年于全球正式发行首张独立厂牌专辑"The Princople Of Evil Made Flesh"，至2003年进入Roadrunner推出"Damnation And A Day"之间，团员间更替的频繁情况，有时会让你搞不清楚现在正式成员到底是哪几位，却依然无损COF的地位，仍然展现高能量金属气势，以精湛乐器演奏与默契搭配，冲出地底阴暗角落，并以高涨毁灭之火焰直袭每位乐迷的心。

2004年于主流厂发行作品"Nymphetamine"后，相隔两年才于2006年交出的第三张勐碟"Thornography"，请来前鞭打金属四大名团之一的Anthrax前吉他手同时也是专找呛勐乐团製作的Rob Caggiano (Ill Nino、36 Crazy Fists、Dry Kill Logic)操盘，溷音部分则交由金属狂人Andy Sneap (Soulfly、Machine Head、Opeth)负责，成功打进英国Top46+美国Top66+澳洲Top35+德国Top27等流行专辑榜之中。从开场前引出令人毛骨悚然哥德气味后，「Dirge Inferno」享受鞭打快感与Dani勐兽般狂乱怒吼，体验阵阵隆隆作响的黑金音乐暴力美学；「The Byronic Man」则解构在冰冷的低声呓语及哀嚎下，惊喜听到芬兰Love Metal代表H.I.M.乐团的颓痞美型男主音Ville Hermani Vallo帮腔合声；末曲亦是首波主打作品的「Tempation」，则翻唱自英国新浪潮乐团Heaven 17 的1983畅销作品，请来拥有No Doubt主唱Gwen Stefani美艳外型+Garbage的Shirley Manson冷酷媚惑音调+Hole的Courtney Love狂放不羁个性的英国新女声Harry热辣献唱。这次加强大量吉他演奏配置，就连Paul都在录音过程相当花费苦心研究每首吉他音色呈现，更为流畅动听的旋律也是他们诉求之重点。

by Thom Jurek

Cradle of Filth is, without question, Britain's most popular, adventurous, funniest, and theatrical alternative metal band (they've actually smiled in photos in full corpse paint). They've been blogged about endlessly, and most recently about not being in the least bit a "black metal band" anymore but merely a good metal band -- they seldom wear corpse paint; they've been interviewed by MTV; have a MySpace page (not run by them); and lead singer Dani Filth sometimes goes by his real name Dani Davey now. Whatever. Cradle of Filth are not a good metal band; they are a great one. Over six previous full-lengths they've been able to make seamless the melding of gothic textures, symphonic music, drama and dynamics, bone-shattering death metal, high concept theater, great production, and humor. In short, they may be mainstream these days, but they can still shred the pants off just about any body musically.

Thornography follows Nymphetamine on the Roadrunner label and is produced by Rob Cagganio. And the band is intact with guests like the inimitable Sarah Jezebel Deva of Angtoria. While it's true that the new title doesn't match the last one (it was so brilliant, how could it?), the music certainly does. A deep, creepy gothic intro titled "Under Pregnant Skies She Comes Alive Like Miss Leviathan" (written by Chris and Tommy Rehn of Angtoria) that would have improved upon the one in the original Hellraiser film, with big choirs, huge organs and strings, it's almost Wagnerian in scope and sets the tone for those bludgeoning twin guitars and blasted drum work on "Dirge Inferno" (which is anything but). Dani Filth is as entertaining as ever as s singer, sounding somewhere between Cookie Monster with a razor stuck in his throat and Chris D. of the L.A. horror-punk band of yesteryear the Flesh Eaters. But it wouldn't matter if Miss Piggy were fronting this unit, they are so utterly accomplished as a metal band musically. Check "Tonight in Flames" with its references to the great metallic bands of the past for evidence. But Dani serves another purpose because he's so utterly entertaining. "Libertina Grimm" weds Lovecraftian horror filtered through Vincent Price kitsch, wedded to Sade-ian pornography via blistering metal: "God was six days sober/On the night that she was born/To the glistening star of a bible class/An icon now in religious porn." Offended? What did you expect from a band called Cradle of Filth? "Sweet Child O' Mine"?

This might be offensive if it could at all be taken seriously. Offense is the point, but so is the fun of classic horror. Better is "The Byronic Man," which follows. It's such an intensely high gothic concept, lamenting Lord Byron's fate and celebrating his many alleged crimes against culture, the church and the aristocracy: "As lonely as a poet on the walls of Jericho/Or the moon without the comfort of the stars/I am loathe to know it that a man without a soul/Is nothing but a spilt canopic jar/I proved it, improved it/Drove a sonnet right through it..." But none of this would matter if this band couldn't write songs, and be so utterly full of the dark side of Halloween and rock the joint to the cracked cement foundation. Who cares what the street thinks about them? Cradle of Filth have been trying to be the evil version of Queen for ten of their 15-year history. Whether its Edwardian decadence, classless humor, power metal in overdriven fury or over-the-top satire disguised as transgression; COF are so very consistent and sophisticated musically and sonically that they are virtually untouchable and in a class of their own -- which is where, make no mistake, they always wanted to be.

Other standout tracks on this set include "Cemetery and Sundown," with its woven vocal choruses, deep rumbling bass riffs, and melody line like something off the Damned's Black Album. The unhinged "Foetus of a New Day Kicking" simply kicks ass in the way that Venom did on their debut album with riffs as sledgehammer-like as early Iron Maiden. But nothing quite prepares the listener, whether old loyal fan or newfangled bandwagon jumper, for the cover of Heaven 17's "Temptation" that closes the record and, in addition, is the album's first single and video. Who said Satanic heavy metal bands couldn't crack a joke? Whether this will be the last straw for the COF faithful and/or win them an entirely new legion of fans is anybody's guess, but let's just say by the sound of Thornography, COF are aiming at playing an arena near you sometime in the near future.

Thornography

专辑介绍

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