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BLACK EDEN
Cradle Of Fright

Self-released (2022)
Rating: 7/10

It’s a shame that the CD version of this album is limited to just 100 copies because this German combo comes well equipped when it comes to creating a composition of dark, Gothic metal. Julian (vocals and guitar), Marco (guitar), Chris (bass) and Jürgen (drums) are talented musicians, and this is Black Eden’s second full-length opus.

Clinically German, Cradle Of Fright brings doom metal strains, symphonic moodiness and, dare I say it, hints of groove metal married with snappier, blackened vocal squawks.

There’s a lot of versatility here from the off. Opening track ‘Cure Of The Vampyre’ features sweeping Gothic structures alongside haunting female vocals before a chugging menace intervenes, coated by Julian’s snappy vocal retorts which transform to clearer, booming tones on the chorus.

I often find Gothic / symphonic metal rather cold and soulless, but as this opus unravels there’s quite a bit to savour. The punky opening notes of ‘Hell Bound Their Wings’ merge into mid-paced melancholy. It’s just a shame the drums sound a bit too clicky, but there are streaks of Type-O Negative, more so when the track resorts to a stark, brooding style. Again there’s another shift into an almost Alice In Chains-like grungy chorus yet with symphonic overtones.

There’s always that interesting mix of styles, and with each listen new ingredients reveal themselves to the taste buds. I like the doomy introduction of ‘Shattered Kingdom’, while there’s extra aggression for the title track with its foreboding chug and black / death nuances.

Elsewhere, ‘Mind & Machine’ is another atmospheric Gothic jaunt with black metal aesthetics, thrashy chug yet power metal flecks. ‘The Wayfarer’ brings dollops of gnashing pace and energy, and ‘Eternal Pyres’ begins like a synth-laden horror soundtrack before the interesting percussion hits.

The downside here, however, is that drum sound which is just too tappy for my liking when all else around is quite suspenseful. Even so, the mix of doom metal and those slurping vocal dynamics is very interesting as is the diversity exhibited on the chugging chunks of ‘Medicide’ and the simmering yet subtle ‘Cold’ with its dream-like sequencing of wistful vocals before the more rainy tempo unravels. Although I can live without the 80s Goth remix of ‘Queen Of Pain’ (from 2019’s Dystopia debut), but again it showcases the diversity on offer here.

Industrial vibes, Gothic tones, Germanic steel and haunting passages make Cradle Of Fright a dark and ruminating opus, albeit with at times a slightly too mechanical feel… but it’s still good stuff.

Neil Arnold

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