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Fierce tracks such as \"\"As I Walk Through The Gateway\"\", or the uber-brutal \"\"Blood Of Slaves\"\", showcase the band‘s affinity for dark, aggressive, and mellifluous metal while the album title track and the epic, mid-tempo rager \"\"On The Wings Of Cosmic Fire\"\" rip and terrorize with the intensity of hell. As always, THULCANDRA's about a vibe - there's a distinct \"\"feel\"\" to the band's latest album that's distinctly old-school but without the tired trappings of it. \u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eThe hotly-anticipated Hail the Abyss is slated for release on May 19, 2023 via Napalm Records. Cooperation with renowned producer Dan Swanö (Dissection, Opeth, Katatonia), who handled the crushing album mix, was compulsory, as was the re-invitation to cover-master Lochner. 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Through their relentless hard work, matchless talent and non-stop touring, the four-piece has manifested its standing as one of the best live acts to date, gaining them a fiercely loyal, rabid fanbase and audience of millions of people at the biggest festivals worldwide - such as Hellfest, Rock am Ring, Graspop Metal Meeting, Download Festival and Rocklahoma USA, plus sold out headline shows across Europe and North America. Bringing their intense stage show and trademark sound to the masses, JINJER will drop their first official live album, Live in Los Angeles, on May 17, 2024.\u003c\/p\u003e\n\u003cp\u003eLive in Los Angeles was recorded and filmed on December 22, 2022 at The Wiltern in Los Angeles, CA, USA. It was a spontaneous idea by the entire band to film a live DVD\/BluRay which not only captured their live show as raw as possible, but to also signify an end of the pandemic. It was a very trying time for touring bands and the music industry as a whole. 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Anchored by arguably the most mournful melody in their catalog, “Non Omnis Moriar” (“I shall not wholly die”) could be a cousin to Paradise Lost or Anathema, inverted through Cradle’s thorny prism. “You Are My Nautilus” is the darkest song Iron Maiden never wrote, spinning an epic tale with dueling guitars, while “Ex Sanguine Draculae” conjures Dusk-era atmosphere with\u003cbr\u003eimaginative new colors.\u003c\/p\u003e\n\u003cp\u003eProduced, recorded, mixed, and mastered by Scott Atkins at Grindstone Studios in Suffolk, England, The Screaming of the Valkyries beckons the brave into a new era of CRADLE OF FILTH misadventure, celebrating massive melancholic melody, blackened thrash, and apocalyptic existential dread with a grinning smattering of unbridled revelry. 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Frontman Dani Filth’s recognizable scream and equally identifiable growl stand\u003cbr\u003emightily alongside twin guitar attacks, symphonic flourishes, and explosive rhythm section, implemented by\u003cbr\u003edrummer Martin “Marthus” Skaroupka, bassist Daniel Firth, guitarists Marek “Ashok” Smerda and Donny Burbage,\u003cbr\u003eand keyboardist\/vocalist Zoe Federoff.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eMenacing album opener “To Live Deliciously” hits immediately with rhythmic urgency, built around a Libertine lyrical\u003cbr\u003ehook that twists and writhes with aggression, atmosphere, and melody, before “Demagoguery” blends dark beauty,\u003cbr\u003eblast beats, and slaytanic groove as only Cradle can combine. Across the album’s blunt and unforgiving yet inviting\u003cbr\u003eexpanse, Cradle summons the succulent flavors of classic albums like Dusk And Her Embrace and Cruelty And\u003cbr\u003eThe Beast with the galloping (but no less fierce) thunder of recent entries Hammer Of The Witches and Existence\u003cbr\u003eIs Futile. Flashes of early metal influences coalesce with carnivorous glee into unapologetic death ‘n’ roll. “White\u003cbr\u003eHellebore” is CRADLE OF FILTH at its most devilishly straightforward, juxtaposing traditional heavy metal with\u003cbr\u003eblasts of thrashing fury, spinning back to operatic goth without sounding disjointed. 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The rule of Filth began in 1991, followed by the unleashing of 1994’s The Principle Of Evil Made Flesh – humble beginnings that expanded into cinematic classics like Cruelty And The Beast and Midian, among others. Now, following the release of 2021’s Existence Is Futile – which debuted at #20 on the Billboard 200 with Hard Rock Genre (beyond many other chart debuts) – the international institution returns with their arrestingly catchy 14th studio album, The Screaming of the Valkyries. Out in March 2025 via Napalm Records, the album is a succinct summation of the ghosts of Cradle’s past and a bold step into the future. Frontman Dani Filth’s recognizable scream and equally identifiable growl stand mightily alongside twin guitar attacks, symphonic flourishes, and explosive rhythm section, implemented by drummer Martin “Marthus” Skaroupka, bassist Daniel Firth, guitarists Marek “Ashok” Smerda and Donny Burbage, and keyboardist\/vocalist Zoe Federoff.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eMenacing album opener “To Live Deliciously” hits immediately with rhythmic urgency, built around a Libertine lyrical hook that twists and writhes with aggression, atmosphere, and melody, before “Demagoguery” blends dark beauty, blast beats, and slaytanic groove as only Cradle can combine. Across the album’s blunt and unforgiving yet inviting\u003cbr\u003eexpanse, Cradle summons the succulent flavors of classic albums like Dusk And Her Embrace and Cruelty And\u003cbr\u003eThe Beast with the galloping (but no less fierce) thunder of recent entries Hammer Of The Witches and Existence\u003cbr\u003eIs Futile. 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Anchored by arguably the most mournful melody in their catalog, “Non Omnis Moriar” (“I shall not wholly die”) could be a cousin to Paradise Lost or Anathema, inverted through Cradle’s thorny prism. “You Are My Nautilus” is the darkest song Iron Maiden never wrote, spinning an epic tale with dueling guitars, while “Ex Sanguine Draculae” conjures Dusk-era atmosphere with imaginative new colors.\u003c\/p\u003e\n\u003cp\u003eProduced, recorded, mixed, and mastered by Scott Atkins at Grindstone Studios in Suffolk, England, The Screaming of the Valkyries beckons the brave into a new era of CRADLE OF FILTH misadventure, celebrating massive melancholic melody, blackened thrash, and apocalyptic existential dread with a grinning smattering of unbridled revelry. 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Flashes of early metal influences coalesce with carnivorous glee into unapologetic death ‘n’ roll. “White Hellebore” is CRADLE OF FILTH at its most devilishly straightforward, juxtaposing traditional heavy metal with blasts of thrashing fury, spinning back to operatic goth without sounding disjointed. Anchored by arguably the most mournful melody in their catalog, “Non Omnis Moriar” (“I shall not wholly die”) could be a cousin to Paradise Lost or Anathema, inverted through Cradle’s thorny prism. “You Are My Nautilus” is the darkest song Iron Maiden never wrote, spinning an epic tale with dueling guitars, while “Ex Sanguine Draculae” conjures Dusk-era atmosphere with imaginative new colors.\u003c\/p\u003e\n\u003cp\u003eProduced, recorded, mixed, and mastered by Scott Atkins at Grindstone Studios in Suffolk, England, The Screaming of the Valkyries beckons the brave into a new era of CRADLE OF FILTH misadventure, celebrating massive melancholic melody, blackened thrash, and apocalyptic existential dread with a grinning smattering of unbridled revelry. 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The rule of Filth began in 1991,\u003cbr\u003efollowed by the unleashing of 1994’s The Principle Of Evil Made Flesh – humble beginnings that expanded into\u003cbr\u003ecinematic classics like Cruelty And The Beast and Midian, among others. Now, following the release of 2021’s\u003cbr\u003eExistence Is Futile – which debuted at #20 on the Billboard 200 with Hard Rock Genre (beyond many other chart\u003cbr\u003edebuts) – the international institution returns with their arrestingly catchy 14th studio album, The Screaming of the\u003cbr\u003eValkyries. Out in March 2025 via Napalm Records, the album is a succinct summation of the ghosts of Cradle’s\u003cbr\u003epast and a bold step into the future. Frontman Dani Filth’s recognizable scream and equally identifiable growl stand\u003cbr\u003emightily alongside twin guitar attacks, symphonic flourishes, and explosive rhythm section, implemented by\u003cbr\u003edrummer Martin “Marthus” Skaroupka, bassist Daniel Firth, guitarists Marek “Ashok” Smerda and Donny Burbage,\u003cbr\u003eand keyboardist\/vocalist Zoe Federoff.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eMenacing album opener “To Live Deliciously” hits immediately with rhythmic urgency, built around a Libertine lyrical\u003cbr\u003ehook that twists and writhes with aggression, atmosphere, and melody, before “Demagoguery” blends dark beauty,\u003cbr\u003eblast beats, and slaytanic groove as only Cradle can combine. Across the album’s blunt and unforgiving yet inviting\u003cbr\u003eexpanse, Cradle summons the succulent flavors of classic albums like Dusk And Her Embrace and Cruelty And\u003cbr\u003eThe Beast with the galloping (but no less fierce) thunder of recent entries Hammer Of The Witches and Existence\u003cbr\u003eIs Futile. Flashes of early metal influences coalesce with carnivorous glee into unapologetic death ‘n’ roll. “White\u003cbr\u003eHellebore” is CRADLE OF FILTH at its most devilishly straightforward, juxtaposing traditional heavy metal with\u003cbr\u003eblasts of thrashing fury, spinning back to operatic goth without sounding disjointed. Anchored by arguably the most\u003cbr\u003emournful melody in their catalog, “Non Omnis Moriar” (“I shall not wholly die”) could be a cousin to Paradise Lost or\u003cbr\u003eAnathema, inverted through Cradle’s thorny prism. “You Are My Nautilus” is the darkest song Iron Maiden never\u003cbr\u003ewrote, spinning an epic tale with dueling guitars, while “Ex Sanguine Draculae” conjures Dusk-era atmosphere with\u003cbr\u003eimaginative new colors.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eProduced, recorded, mixed, and mastered by Scott Atkins at Grindstone Studios in Suffolk, England, The\u003cbr\u003eScreaming of the Valkyries beckons the brave into a new era of CRADLE OF FILTH misadventure, celebrating\u003cbr\u003emassive melancholic melody, blackened thrash, and apocalyptic existential dread with a grinning smattering of\u003cbr\u003eunbridled revelry. 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Crystal-clear production\u003cbr\u003ehighlights the interplay between silence and intensity, while the contrast of heavy riffs, delicate\u003cbr\u003eguitar harmonies, ethereal synthesizers, and atmospheric nuances create captivating tension.\u003cbr\u003eTracks like \u0026amp;quot;Thrice\u0026amp;quot; and \u0026amp;quot;Warden\u0026amp;quot; pulse with dynamic energy, while \u0026amp;quot;Lilac\u0026amp;quot; sees Jonas\u003cbr\u003eRenkse’s unmistakable vocals intertwining with hypnotic rhythms and progressive elements. A\u003cbr\u003enear-ceremonial piece, \u0026amp;quot;Wind of No Change\u0026amp;quot;, merges subtle electronic textures with\u003cbr\u003eKATATONIA’s enigmatic soundscapes, while \u0026amp;quot;Temporal\u0026amp;quot; balances fragility and strength - its\u003cbr\u003eintense verses culminating in a soaring, emotionally charged chorus. The breathtaking \u0026amp;quot;Efter\u003cbr\u003eSolen\u0026amp;quot; (Engl. 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