For nearly three decades, Dani Filth has been the infernal mastermind behind Cradle of Filth, one of extreme metal’s most iconic and theatrical bands. From their early gothic-tinged black metal days to their grandiose symphonic nightmares, Cradle of Filth has consistently pushed the boundaries of horror, melody, and macabre storytelling. With their latest album, The Screaming of the Valkyries, the band continues to evolve, proving that their dark artistry remains as potent as ever.
In this exclusive interview, Dani Filth delves into the inspiration behind the new record, the creative process that keeps Cradle of Filth fresh after all these years, and his thoughts on the state of extreme metal today. Prepare for a deep dive into the mind of metal’s most sinister poet - where darkness, wit, and brutal honesty collide.
M.I. - Last time we spoke, you were in between tours and heading to Portugal. How did that tour go?
It was amazing! I really enjoyed it, and I really enjoyed our time in Portugal. My partner joined us at the latter end of the Spanish run and stayed for our time in Portugal. We even went to Sintra the day after the show. It was a magical time. The gig was sold out, and the tour was great fun. We had Butcher Babies supporting us. Aside from the bus breaking down in the last week and some people getting sick, it was very successful.
M.I. - How did the fans react to the new single, "Malignant Perfection"?
They seem to love it! Even before the tour, we had amazing reviews, so it felt comfortable playing it live. Now that we’re heading out in support of the new album, we’ll be playing more of the singles. One was released yesterday, "White Hell," and next week, the new album comes out.
M.I. - Let’s start with the inspiration behind the new record. What was the driving force behind it?
This album is quite personal and cinematic. It draws from classic horror, folklore, and even some real-life darkness. I think we’ve managed to push our sound forward while keeping the gothic and extreme elements that define Cradle of Filth. There’s a lot of storytelling and theatricality, which is something we’ve always embraced.
M.I. - "The Screaming of the Valkyries" is such an evocative title. What’s the deeper meaning behind it? Is it rooted in mythology, war, or something more abstract?
It’s a line from the track "When Misery Was a Stranger," the final song on the album. It was inspired by the idea that we are just seconds away from midnight on the Doomsday Clock. If you were to hear the screaming of the Valkyries worldwide, it would symbolize that they were being overrun and destroyed, and Asgard or heaven was falling, essentially, Ragnarok occurring. It’s a strong metaphor for the end of the world as we know it. I liken it to witnessing an atom bomb explode, a volcano erupt, or a tidal wave towering over you, that moment of full realization of impending doom. Either that, or it’s just a very heavy metal album title!
M.I. - The album feels like a love letter to both Cradle’s past and future. Was there a conscious effort to channel specific eras of the band, or did it happen naturally in the songwriting process?
It just came about naturally. Inspiration strikes from everywhere: art, literature, theatre, nature, current events. It’s a product of everything we’ve been through, the continuous touring since the pandemic, and possibly the inclusion of two new members, which injects fresh blood into the proceedings.
M.I. - The album embraces both extreme aggression and Gothic melancholy. Was there a particular mood or theme guiding its creation?
Not really. I don’t want to sound like we don’t know what we’re doing, but the writing process is very organic. It evolves as we go. We start piecing ideas together, and it’s an ongoing process that continues through to the mixing stage. Even with the lyrics, I wait until most of the music is written and guide it accordingly.
M.I. - Your music has always had this unique blend of gothic horror, extreme metal, and orchestral elements. Did you try anything new sonically on this album?
Absolutely. We wanted to experiment with different textures and atmospheres. We brought in some unexpected instrumentation and even played around with vocal layering in a way we haven’t before. There’s a stronger cinematic feel throughout the album, and I think fans will really pick up on that. We’ve also refined our approach to melodies, making them both haunting and aggressive at the same time.
M.I. - Lyrically, Cradle of Filth has always had a poetic, almost literary approach. What themes did you explore this time around?
This record dives into themes of forbidden love, the supernatural, and a bit of historical horror. There’s also a reflection on mortality and the darker aspects of human nature. I like to weave narratives that feel like they belong in gothic literature, something Edgar Allan Poe or Bram Stoker would have conjured. We’re creating worlds within the songs, and I want listeners to feel like they’re stepping into those eerie, twisted realms.
M.I. - "Ex Sanguine Draculae" feels like a throwback to the "Dusk… and Her Embrace" era but with new elements. What inspired this track?The music itself inspired it. When I first heard the embryonic version, it immediately evoked atmospheres reminiscent of "Dusk," "Cruelty," and "Midian." The subject matter presented itself naturally because of that.
M.I. - "To Live Deliciously" immediately brings to mind the infamous quote from “The Witch”. Did that film influence the song’s concept?
Not the concept, just the title. The phrase has been used before; Robert Eggers took inspiration from other sources, too. The song itself is about indulging in life, embracing everything around you. It’s a celebration of free will, of enjoying life while it’s here, within reason, of course, without harming others. It’s almost a life mantra, which is unusual for a black metal band!
M.I. - "You Are My Nautilus" has been described as "the darkest song Iron Maiden never wrote." What’s the story behind it?
(Laughs) I don’t know who wrote that, but I see why! It has a "Rime of the Ancient Mariner" vibe: long, intricate, and with twin guitar harmonies reminiscent of Dissection, Maiden, or even Thin Lizzy. The Nautilus refers to “20,000 Leagues Under the Sea” and Captain Nemo, who commands this ahead-of-its-time warship. In the song, it’s a metaphor for a steadfast, mysterious figure in one’s life. I love 19th-century literature: H.G. Wells, Jules Verne. I’m drawn to that era’s storytelling.
M.I. - "Demagoguery" has lyrics that sound political, which isn’t typical for Cradle. Does it explore specific modern-day themes?
Yes, it’s one of two tracks that touch on modernity. "Demagoguery" deals with the spread of false information, lies whispered to manipulate people. It’s wrapped in biblical imagery, referencing the serpent in Eden, but the concept applies to today’s world. False narratives are used to benefit nations at war, spread through the news and internet. Lies are a disease, used to discredit and manipulate.
M.I. - Scott Atkins’ production sounds massive. How did his approach shape the album’s sonic identity compared to “Existence is Futile” or “Hammer of the Witches”?
Scott has produced both those records, and we trust him immensely. He guides us from the early songwriting stages and helps shape the record before we even enter the studio. We always employ new techniques, plugins, and recording methods to keep things fresh. Scott is a no-nonsense guy, if something isn’t up to scratch, he’ll tell us. That’s the kind of producer you need.
M.I. – Did any of these techniques feel like new territory for the band?
I wouldn't say it was overly new territory! You always know how to ride a bike but you know you can get a new bike or you could ride an old bike. It felt like we were recording with new shiny tools, because the whole process hasn't really changed in 32 years. Our first record “The Principle of Evil Made Flesh” sounds primitive now, but back in the day, it was considered amongst the most best produced of black metal and obviously it was done with less money and it was done quicker. We were not as well versed in being in a studio. We were just kids at the time, but the sentiment was there and the sentiment is still there.
M.I. - Do you still feel the same fire as you did in Cradle’s early years?
Absolutely! The pandemic was a reset button for many people, including us. It helped me and our band realize just how important and how much we love doing what we do so if the fire was ever dead it's been rekindled since then. But it is a lifestyle for me, it doesn't just stop with music or videos or interviews or artwork, it's about an identity you know?! My house is full of weird and wonderful stuff and I just live this life. When you’re embroiled that deeply into something, you can't help but find your path continuously in that vein.
M.I. - This is the first full-length album with the new members. How has their presence changed the band’s creative process? How has their addition influenced the band’s sound and songwriting?
They integrated swiftly. Originally, they were temporary because we weren’t sure how their American backgrounds would influence a European band. But they fit perfectly. They were fans before joining, so some of their favorite Cradle eras may have seeped into the songwriting. I don’t see it as self-plagiarism… when a band has a strong identity, revisiting that sound is natural.
M.I. - The band has had an evolving lineup over the years. How did the chemistry feel during the recording of this album?
The chemistry was fantastic. Everyone brought something unique to the table, and there was a real sense of excitement in the studio. This lineup has a great synergy, and it’s probably one of the strongest we’ve had. Everyone contributed their own flair while still staying true to the core sound of Cradle of Filth. There was a lot of creative energy bouncing around, which made the process very organic.
M.I. - Cradle has seen many lineup changes. Some say it’s because of your ego. How do you respond to that?
(Laughs) I don’t give two fucks what people say. They make up their own stories. I’ve only fired three people in over 30 years, and that was over 20 years ago. People leave for personal reasons - health, family, wanting to start their own projects. This band is a lot of work, and some people don’t want to commit long-term. But right now, things are great. In fact, Zoe just married Ashok, and we were all at their wedding.
M.I. - Given that you’re the only founding member left, I think it is fair that you make the rules?
Well, someone has to steer the ship! But it’s not a dictatorship. Everyone contributes, writes, and shares in everything. We’re a family, and we hang out together. We're in constant communication and, of course, when we come back from tour, we don't want to hang out with each other, because we've been literally living in each other's laps for months so the last people we want to see is each other again… anyway three people live in America, one lives in the Czech Republic, one lives in Scotland and I live in England so it proves a little tricky. We've got great management The Oracle which is Dez Fafara and his wife. Dez obviously being the singer of Devil Driver and Coal Chamber, who's one of my best friends, he steers the ship more than anybody so I answer to him, you know?
M.I. – The infamous “Jesus is a C***” shirt is still considered one of the most controversial pieces of merch in rock history. Looking back, do you think that kind of shock factor still has a place in metal today?
We're not a shock band, we've done a few things that are shocking but as a rule we usually get slated for being too darkly romantic or too poetic or too this or too that, we can never win and I don't give a fuck anymore! I don't care about negative opinions! We could write the best record in the world and there would still be people that hate it. We could write the worst record in the world and there would be people that would love it, so we just carry on. Life's too short to listen to idiots and weirdos and derogatory comments. We released a new video yesterday and I looked at the comments and even though 90% of the 400 comments are all “This is great! Amazing return! Love it!”. Evidently there's another 10% that are annoyed by it. I just find it hysterical because one of them was “Oh the last two albums had the worst production ever! We could barely hear the drums” and I was wondering what is this guy listening to it. Then there were other comments where people just think they know best and it just makes me laugh, it tickles me rather than annoys me. One of the best ones was someone saying that we haven't had a fucking decent video since the 90s! Well, we only did one video in the 90’s and it was literally in the last two months of that decade, so I don't know what that mate was talking about to be honest.
M.I. - Cradle has always had a knack for surprises. Can fans expect any unexpected twists in the near future, whether it’s a side project, a film score, or another high-profile collaboration?
Well, the Ed Sheeran song will come out when it comes out. It's obviously got to avoid the release of this record and the forthcoming Ed Sheeran record and then it will come out in due course. It's all recorded! We already have plans for lots of things which I can't really speak about. They're all very exciting including one particular tour that should be happening next year. We have a big collaboration with a big high-end fashion house coming up. They're doing a capsule of clothing which I'm really excited about. I know it's not everybody's cup of tea but again I don't care! It's an exciting opportunity to break into something that nobody else has done before and there's other little things that we've got in the pipeline that really I can't speak about because we're talking about this album.
M.I. - Your live shows are as theatrical as your music. How are you planning to bring this album to life on stage?
Expect bigger production, elaborate stage setups, and, of course, the usual macabre theatrics. There will be some surprises in the setlist as well. We want it to be an immersive experience, something that truly brings the horror and drama of our music to life.
M.I. – Any tours planned so far?
We've got the one coming up in America co-headlining with Dying Fetus, the Chaos and Carnage Festival tour. Then in the latter half of the year we go to South
America. In Europe we have no tour planned, just festivals, a few shows… we toured Europe last year, we're not going to tour it again this year… it'll be next year!
M.I. - You’ve been in the industry for decades now. What keeps you inspired after all these years?
I think it’s the passion for what I do. Music is such a powerful medium, and I love that we can still push boundaries and create something that resonates with people. The fans are also a huge inspiration. Seeing their energy and dedication fuels us to keep going. As long as there are stories to tell and dark corners to explore, Cradle of Filth will keep doing what we do best.
M.I. - Finally, what message do you have for fans who are eagerly waiting for this new album?
Be prepared for something intense, immersive, and hauntingly beautiful. This album is one of our most ambitious works yet, and we can’t wait for everyone to hear it. Thank you for your support over the years, it truly means everything to us. See you all on tour!
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Questions by Sónia Fonseca
