LIVE REVIEW: CRADLE OF FILTH + INFECTED RAIN + OUR LAST ENEMY at THE METRO, SYDNEY. 28 SEPTEMBER 2024
by PAUL SOUTHWELL
AS a queue of largely band artwork based black t-shirts stretched down the nearby venue alleyway, it was clear a sold-out metal show was on. The Cradle of Filth brigade was out in force and as some rain threatened mascara, nothing was dampening their enthusiasm, albeit shrouded in an attitude of self-inflicted gloom. Still, the setlist promised much, given it had been several years since Cradle of Filth last ventured to our shores, with a prior tour cycle for the 2021 release Existence Is Futile.
Starting things off was Sydney industrial style metal band Our Last Enemy, with first track “Wolves of Perigord” receiving audience approval as the industrial bursts became a wall of sound, pushed by the rhythm section of bassist Matt Heywood and drummer Frank Macri.
Our Last Enemy launched into a ferocious attack of shimmering cymbals, heavy riffage from imposing looking guitarist Wade Norris, and guttural vocals from Oliver Fogwell. A crouching Fogwell jumped up to hammer out the ferocious “Bless the Fall”, complete with synchronised strobe lighting, and post chorus breakdowns after the sonic barrage, which soon built back up for a rhythmic assault.
Cymbals continued to cop a hammering in “Devour the Sun”, another track from Wolves of Perigord, with moody, harmonics building a more intense groove, sprinkled with a brittle sounding guitar drone figure. “Never Coming Back” morphed into an aggressive groove, with the vocal style of spitting venom mixed with spoken aspects. Heywood windmilled, legs apart as he traversed the fretboard, adding backing vocals. Our Last Enemy ended their set with the fast, barraging “10,000 Headless Horses” from their 2010 debut album Fallen Empires, heavy drums and angry vocals very reminiscent of Pantera’s most abrasive, heaviest material. Solid work, wrapped up tightly in a brisk half hour set.
Infected Rain were next, the first time the Moldovan heavy metal band from Chișinău had toured Australia. Lights dimmed as the atmospheric introduction indicated the setlist would be primarily focussing on their latest release Time.
Charismatic vocalist ‘Lena Scissorhands took charge of the stage presence department with ease. Flanked by guitarist Vadim ‘Vidick’ Ojog and the black leather clad Italian fingerstyle bass powerhouse Alice Lane Pandini, who offered serious grunt with her Overload Achilles headless bass guitar. The drumming of Eugen Voluta was almost understated due to Scissorhands’ sheer stage dominance, but the rhythm section was most certainly felt as the band belted out Infected Rain’s brand of newer metal.
“The Realm of Chaos” from Ecdysis offered more down tuned guitar, aggressive harsh vocals plus dynamics in the breakdown parts. Heavily tattooed and with dreadlocks flowing, Cataraga soon introduced herself and band to the audience, then unleashed Pandemonium” from Time, with bass heavy, cymbal smashing and soaring vocals. A circle pit ensued as they played “Vivarium”, the bass groove filled industrially driven track kicked in. Scisoorhands’ higher register vocals shone as it took the track into moodier territory, again, showing the musical dynamics that Infected Rain understood and delivered.
“The Answer is You” offered more fast-paced, barrelling industrial styled metal with the ode to self-reliance enhanced by breakdowns, some atonal female vocals and the singer calling for a wall of death. Her ability to alternate between harsh and clean vocals is impressive, and her flexibility was captivating.
“Never to Return” added some atmospheric keyboard parts, higher register vocals and then lower, guttural parts in line with the heavier bass parts. Drum accents worked against a temporary band tacit, as the song dived into heavier sections. A set highlight was “Because I Let You” which took on heavier riffage, cymbals and drum work, followed by quieter breakdown interlude of vocals against a simple keyboards track.
To end proceedings, “Sweet, Sweet Lies” from their 2014 album Embrace Eternity, allowed Scissorhands to again engage the audience with a request for a circle pit and the audience again complied, as the drone like octave guitar riff let her yell, “Let me see you jump!”
The introduction music was of course, the original theme music from Hellraiser. The brooding orchestration then segued into “The Fate of the World on Our Shoulders” from Existence Is Futile, as band members took to the stage, guitarist Marek ‘Ashok’ Šmerda, decked out as Pinhead. Not missing a beat, the band launched into “Existential Terror”, bassist Daniel Firth locking in with drummer Marthus Škaroupka, as the song’s black metal feel took flight, with cold guitar sounds from Ashok and Donny Burbage. Sliding chords and female vocals worked well with frontman Dani Filth’s signature mixture of high pitched shrieked and guttural bellows as the song took to a half time feel whilst twin guitar work, even with tremolo picking, had an element of Iron Maiden as the song picked up to a double time gallop.
The epic black metal styled “Saffron’s Curse” showed the talent of the band, with Zoë Federoff’s mastery of the song clear, her vocal delivery floating over Filth’s, that sometimes inched towards narration. Some neoclassical keyboard work ushered in guitar lines mirroring the vocals. “She is a Fire” offered more well executed time signature changes and despite the blast beats, again had the Maiden aspect, most notably when the melodic twin guitar soloing moved between harmony lines to trade off solos.
The outro was ferociously played, shortly followed by the title track from The Principle of Evil Made Flesh, but not before Filth made light of the 30th anniversary of the track with his usual sardonic banter. Blast beats, sliding chromatic chords to tremolo picked rhythm parts, and female vocals with almost theremin like quality, fluid and technique filled guitar soloing with whammy dives, speed runs and sweep picking before more relentless drumming and half barked, half shrieked vocals from Filth continued the onslaught, as was also heard in “Crawling King Chaos”.
It was not until “Nymphetamine (Fix)” that a change of pace came, offering some relief. Keyboards and vocals against sustained guitar chords, plus some harmony figures gave the slower paced track room to breathe. The haunting vibe was reinforced by vocal trade-offs and harmonies between Filth and Federoff, with a simple keyboard figure providing a memorable melody line. The circle pit enthusiasts resumed their antics during the double kick drum fury of “Dusk and Her Embrace” which, even with all the musical intricacy, resembled controlled chaos, as repeated chord phrases melded black metal with punk.
Making quips about Melbourne and their “godawful football”, Filth and company dedicated “Necromantic Fantasies” to Infected Rain, with Ashok dropping in some whammy bar purrs and dips during one of his more expressive guitar outings within the track. The pace increased again as “Born in a Burial Gown” closed the set with fast extreme metal, even with soprano female vocals and keyboard figures.
The band departed the stage briefly, but were soon back in position to rip into “The Promise of Fever”.
“Cruelty Brought Thee Orchids” went from opening dialogue to breakneck black metal, as Filth’s poetic lyricism was largely barked, losing some of his unique eloquence in his choice of delivery. Even at double time, there were some power metal styled guitar chords mixed with the tremolo picked extreme metal. Similarly, classic Midian track, “Her Ghost in the Fog” had structures in place to keep the band from losing time and turning it into a cacophonous mess. Cradle of Filth’s tight sense of synchronisation is impressive and pulling it off live is not an easy task. Completing their performance with “From the Cradle to Enslave”, the speed of the song, soaring female vocals and harmony guitar lines whizzed by with incredible precision.
Cradle of Filth live is an intense experience, but they are unique, and with serious musical pedigree, and interesting lyricism. The tour pretty much sold out across the board, and they rewarded their loyal fans with a vast and varied setlist.
