People love to call Cradle of Filth sell-outs.

Well, the English heavy metal band has certainly altered its sound in a number of ways since its 1994 debut The Principle of Evil Made Flesh. While Cradle was once considered to be 100% black metal with heavy gothic influences, their sound has since evolved and can be described as much more melodic and much more accessible than it once was. Much to the dismay of the bulk of the band's early fanbase, Cradle of Filth has been steadily rising in "mainstream" popularity, and if you ask me, Thornography will only see Dani Filth & co. climbing one step higher up the A.L.M.M. (Ancient Ladder of Mainstream Music -- don't ask, I'm in a weird mood).

Now, I'm not saying mainstream American rock radio is about to embrace Cradle of Filth's music. Not even close. Dani Filth's astonishingly high-pitched shrieks, which frequently switch to an unexpectedly low, guttural growl, ARE NOT about to find themselves alongside stuff like Hinder and My Chemical Romance any time soon. A more accurate statement would be that Cradle's music now is kind of a watered-down version of what it once was. Whether or not people liked music from Cradle of Filth's earlier works -- and I'll admit that I generally wasn't ever too turned on by it -- it's hard not to admit that they were a band very, very good at what they did.

Thornography will undoubtedly attract a plethora of new listeners to Cradle of Filth's music. It showcases the fact that Dani has grown quite a fondness for a catchy chorus, and his vocal antics, though certainly not entirely toned down, are much more accessible than what they once were.

The album starts off with the brief orchestral introduction, "Under Pregnant Skies She Comes Alive Like Miss Leviathan". In addition to the especially cool song title, this introduction is genuinely dark and beautifully arranged. That said, it is a shame that most songs on the album fail to compare to this introduction.

I'll give "Dirge Inferno" some credit, as it is one of Thornography's better songs. "Dirge Inferno" jets off with double-bass drumming at breakneck speeds and Dani's unique vocals rasping away. Instantly, it's obvious that Dani hasn't lost his abilities to create dark lyrical imagery; on the contrary, it is instantly obvious that the band seems capable (and has proven they are capable) of creating songs much more complex and much heavier than this. Is that a bad thing? I suppose that's up to the individual listener. I personally feel indifferent to it.

Despite having an irresistibly catchy, highly melodic guitar groove, "Tonight In Flames" features some of Dani's weakest vocals. Far be it from a Cradle of Filth fan's mind to think that Dani could actually sound bland in a song, but here, everyone's worst nightmare seems to really take shape. His voice actually gets a little monotonous here, which is unusual -- typically, even if he DOES sound obnoxious, at least things are varied a little bit. The same problem applies to the medium-paced "The Byronic Man," a song that features an unnecessary guest appearance from H.I.M. vocalist Ville Valo. The song has potential, but it's ruined by the fact that Dani sounds positively uninspired.

"Lovesick For Mina" is undoubtedly the highlight of Thornography. Slithering, Maiden-esque guitar work ebbs and flows, perfectly complementing Dani, who actually sounds like he's putting effort into his vocals. This song has a sophistication that most of Thornography lacks -- the way Dani's screams seem to be layered over one another is haunting. Fast-paced and punishingly heavy, "I Am The Thorn" has the most in common with Cradle of Filth's oldest work. Dani's vocals here are truly brutal, backed by galloping guitar riffs that can only be described as insane.

Closing out Thornography is the skipworthy "Temptation," a cover of the '80s pop song by Heaven 17. This rendition of "Temptation" features guest vocals by Victoria 'Harry' Harrison, whose most, most annoying voice can best be defined as what a Spice Girl might sound like should that Spice Girl decide to try to "go metal." This song would not be enjoyable in the least even without Harry, as it is irritatingly redundant and arranged in an excessively simplistic manner, but she certainly drags it down to an entirely new level of terrible.

Although people seem to be labeling Thornography either a masterpiece of unmatched brilliance or a complete disaster, I'm going to say it's really somewhere in between. Cradle of Filth becoming more melodic and easy to listen to isn't always a bad thing, you see -- sometimes it is, sometimes it isn't. I find myself wishing that more of the songs were crafted in the vein of "Nymphetamine," the title track to Cradle's previous album. That song managed to be out-of-this-world catchy, and quite heavy at the same time.

What Thornography seems to lack more often than not is a comfortable balance. They're either trying too hard to re-attract their old listeners (and sounding like a parody of themselves in the process), or trying too hard to appeal to what most people would refer to as 'the Hot Topic crowd'. I hesitate to recommend this to fans of Cradle of Filth's older work that snub their last few albums, because it's really not a complete return to form. However, there may be a few surprises here and there that will make this a worthwhile purchase for longtime listeners. The best thing to do is to approach Thornography with caution, no matter what viewpoint you have of Cradle now or what you've thought of them in the past. It is truly a mixed bag.

Great Music to Play While: Enjoying a throat-soothing cherry lozenge because you feel Dani's pain...



Recommended: No