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Cradle of Filth β€” Dusk... and Her Embrace

  • intothewellsabyss
  • Aug 19, 2023
  • 5 min read

π…π‘πŽπŒ 𝐓𝐇𝐄 π‚π‘π˜ππ“π’ - π‚π„π‹π„ππ‘π€π“πˆππ† 𝐏𝐀𝐒𝐓 π€π‹ππ”πŒπ‘π„π‹π„π€π’π„π’ 𝐒𝐧 𝐭𝐑𝐞 π‡πˆπ’π“πŽπ‘π˜ 𝐨𝐟  𝐇𝐀𝐑𝐃 π‘πŽπ‚πŠ & π‡π„π€π•π˜ πŒπ„π“π€π‹β€¦



August 19, 1996 β€” Cradle of Filth released theirΒ  second studio album, Dusk... and Her Embrace via Music For Nations,. (Listen)



It was their first release for the label.



Note: There is some dispute over whether Dusk… was released in August or October of 1996. Dani Filth has posted that the Anniversary was August 19, but fans in the Cradle of Filth - Official group on Facebook argue that he is wrong. Either way, this year is the 27th Anniversary of its release! I am not going to dwell on the drama of β€œwho’s right” or β€œwho’s wrong”. Happy Anniversary Dusk… β€” E.N. Wells



Background:

Much of the material for the album was written while the band were still under Cacophonous Records' contract. Speaking to Ryan Bird of Kerrang! in 2008, Dani Filth remembered;

β€œπšƒπš‘πš’πšœ 𝚠𝚊𝚜 𝚊 πš‹πš’πš 𝚘𝚏 𝚊 πš πšŽπš’πš›πš πš˜πš—πšŽ. πš†πšŽ πšŠπšŒπšπšžπšŠπš•πš•πš’ πš›πšŽπšŒπš˜πš›πšπšŽπš πš’πš 𝚊𝚜 πš˜πšžπš› πšœπšŽπšŒπš˜πš—πš πš›πšŽπš•πšŽπšŠπšœπšŽ, πš‹πšžπš 𝚠𝚎 πšπš‘πšŽπš— πš‘πšŠπš 𝚝𝚘 πšπšŠπš”πšŽ πš˜πšžπš› πš•πšŠπš‹πšŽπš• 𝚝𝚘 πšŒπš˜πšžπš›πš πš πš‘πš’πšŒπš‘ πš–πšŽπšŠπš—πš πšπš‘πšŠπš πš–πš˜πšœπš 𝚘𝚏 πš’πš 𝚠𝚊𝚜 πšπšŽπš–πš™πš˜πš›πšŠπš›πš’πš•πš’ πš•πš˜πšœπš πšπš˜πš› πš•πšŽπšπšŠπš• πš›πšŽπšŠπšœπš˜πš—πšœ. πšƒπš‘πšŽ πš—πšŽπš‘πš πšπš‘πš’πš—πš 𝙸 πš”πš—πš˜πš  πšπš‘πšŽ πš‹πšŠπš—πš πš‘πšŠπš πšœπš™πš•πš’πš πš’πš—πšπš˜ 𝚝𝚠𝚘-πš‘πšŠπš•πšŸπšŽπšœ, πšŠπš—πš πšŠπšπšπšŽπš› πš›πšŽπš•πšŽπšŠπšœπš’πš—πš πšπš‘πšŽ πš… π™΄πš–πš™πš’πš›πšŽ 𝙴𝙿 πš–πš’ πš‘πšŠπš•πš 𝚠𝚊𝚜 πšŠπš‹πš•πšŽ 𝚝𝚘 πš›πšŽ-πš›πšŽπšŒπš˜πš›πš πšŠπš—πš πšπš’πš—πšŠπš•πš•πš’ πš›πšŽπš•πšŽπšŠπšœπšŽ πšπš‘πšŽ πšŠπš•πš‹πšžπš–. π™Έπš— 𝚊 𝚠𝚊𝚒 πš’πš πšŠπšŒπšπšžπšŠπš•πš•πš’ πš πš˜πš›πš”πšŽπš πš’πš— πš˜πšžπš› πšπšŠπšŸπš˜πšžπš›, πš‹πšŽπšŒπšŠπšžπšœπšŽ πšŠπšπšπšŽπš› πš—πšŽπšŠπš›πš•πš’ 𝚝𝚠𝚘 πš’πšŽπšŠπš›πšœ 𝚘𝚏 πš•πšŽπšπšŠπš• πš‹πšŠπšπšπš•πšŽπšœ πšŠπš—πš πš—πš˜πš—-πšœπšπš˜πš™ πš‘πšŠπšœπšœπš•πšŽ 𝙸 πšπš‘πš’πš—πš” πšπš‘πšŽ πšπš›πš˜πšžπš‹πš•πšŽπšœ 𝚘𝚏 πšπš‘πšŽ πšπš’πš–πšŽπšœ πšŠπšŒπšπšžπšŠπš•πš•πš’ πšŒπšŠπš–πšŽ πšπš‘πš›πš˜πšžπšπš‘ πš˜πš— πšπš‘πšŽ πš›πšŽπšŒπš˜πš›πšπš’πš—πš. πš†πšŽ πšŠπšŒπšπšžπšŠπš•πš•πš’ πš πš˜πš›πš”πšŽπš πš πš’πšπš‘ π™Ίπš’πš πš†πš˜πš˜πš•πšŸπšŽπš— πš˜πš— πšπš‘πšŠπš πš˜πš—πšŽ, πš πš‘πš˜ πš–πš˜πšœπš πš™πšŽπš˜πš™πš•πšŽ πš”πš—πšŽπš  πšπš›πš˜πš– πš πš˜πš›πš”πš’πš—πš πš πš’πšπš‘ πšƒπš‘πš’πš— π™»πš’πš£πš£πš’, 𝚜𝚘 πš’πš πš‘πšŠπš 𝚊 πšŸπšŽπš›πš’ πš•πšžπšœπš‘ 𝚎𝚍𝚐𝚎 𝚊𝚜 πš πšŽπš•πš• 𝚊𝚜 πšπš‘πš’πšœ πšπš’πšœπšπš’πš—πšŒπšπš’πšŸπšŽ, πšπšŠπš›πš” πšŸπš’πš‹πšŽ. πšƒπš˜ πšπš‘πš’πšœ 𝚍𝚊𝚒 πšπš‘πš’πšœ πš’πšœ πšπš‘πšŽ πšŠπš•πš‹πšžπš– πšπš‘πšŠπš 𝚊 πš•πš˜πš 𝚘𝚏 πš˜πšžπš› πšπšŠπš—πšœ πšœπšŽπšŽπš– 𝚝𝚘 πš‹πšŽ πš›πšŽπšŠπš•πš•πš’ πšπš›πšŠπš πš— 𝚝𝚘. π™°πš—πš πš’πš πšŒπšŠπšπšŠπš™πšžπš•πšπšŽπš 𝚞𝚜 πš’πš—πšπš˜ 𝚊 πš πš‘πš˜πš•πšŽ πš—πšŽπš  πš πš˜πš›πš•πš.”

Filth later told Kerrang! that the tone and content of the record was also partly the result of Cradle's isolation from the European Black Metal scene;

β€œπ™±πšŽπš’πš—πš πšœπšŽπšπš›πšŽπšπšŠπšπšŽπš πšπš›πš˜πš– πš–πšŠπš’πš—πš•πšŠπš—πš π™΄πšžπš›πš˜πš™πšŽ πš›πšŽπšŠπš•πš•πš’ πšπš’πšŸπš’πšπšŽπš 𝚞𝚜 [πšπš›πš˜πš– πšπš‘πšŠπš πšœπšŒπšŽπš—πšŽ], πšŠπš—πš πš˜πšŸπšŽπš› πšπš’πš–πšŽ 𝚠𝚎 πšπšŽπš•πš πš–πš˜πš›πšŽ πšŠπš—πš πš–πš˜πš›πšŽ πšŠπš•πš’πšŽπš—πšŠπšπšŽπš πšπš›πš˜πš– πš’πš. πšƒπš‘πšŽ πš›πšŽπšœπšžπš•πš 𝚠𝚊𝚜 πšπš‘πšŠπš π™³πšžπšœπš” πšŠπš—πš π™·πšŽπš› π™΄πš–πš‹πš›πšŠπšŒπšŽ 𝚠𝚊𝚜 𝚊 πššπšžπš’πš—πšπšŽπšœπšœπšŽπš—πšπš’πšŠπš•πš•πš’ π™±πš›πš’πšπš’πšœπš‘ πšŠπš•πš‹πšžπš–. π™Έπš 𝚠𝚊𝚜 πš“πšžπšœπš πš πš‘πšŠπš πšπšŽπš•πš πš›πš’πšπš‘πš. 𝙸 πšπš›πšŽπš  πšžπš™ πš˜πš— π™·πšŠπš–πš–πšŽπš› π™·πš˜πš›πš›πš˜πš›... πšŠπš—πš 𝚠𝚎 πš πšŽπš›πšŽ πšŸπšŽπš›πš’ πš–πšžπšŒπš‘ πšŠπš•πšœπš˜ πš’πš–πš–πšŽπš›πšœπšŽπš πš’πš— πšπš‘πšŽ πš‘πš’πšœπšπš˜πš›πš’ 𝚘𝚏 πš πš’πšπšŒπš‘πšŒπš›πšŠπšπš πš’πš— πš‚πšžπšπšπš˜πš•πš”. πšƒπš‘πšŽπš›πšŽβ€˜πšœ 𝚊 πš•πš˜πš 𝚘𝚏 πšœπš™πš’πš›πš’πšπšžπšŠπš• πš–πš’πšπš‘πš˜πš•πš˜πšπš’ πšŠπš—πš πš‘πšŠπšžπš—πšπš’πš—πšπšœ πš’πš— πšπš‘πšŠπš πšŠπš›πšŽπšŠ, πšŠπš—πš 𝚠𝚎 πšŒπš‘πšŠπš—πš—πšŽπš•πš•πšŽπš πšπš‘πšŠπš πš’πš—πšπš˜ πšπš‘πšŽ πšŠπš•πš‹πšžπš–, πš πš‘πš’πšŒπš‘ πš’πšœ πš πš‘πš’ πš’πš πš‘πšŠπšœ πšπš‘πšŠπš πšœπš˜πš›πš 𝚘𝚏 πšŸπšŠπš–πš™πš’πš›πš’πšŒ πšπšŽπšŽπš• 𝚝𝚘 πš’πš.”

The album climaxes with a guest speech from Venom's Cronos on the final track, Haunted Shores.



More on the original version of β€œDusk…”:

As stated above, Dusk... and Her Embrace exists in two versions. It was initially recorded as the band's second album for Cacophonous Records following The Principle of Evil Made Flesh. Cradle's relationship with Cacophonous subsequently collapsed, however: the band accusing the label of contractual and financial mismanagement.



Acrimonious legal proceedings took up most of 1995, and the original version of Dusk was shelved and later re-worked and re-recorded as the eventual 1996 Music For Nations release.



Writing in The Gospel of Filth in 2009, Dani indicated that these early recordings were merely demos, rather than a finished album:

πš†πšŽ πš›πšŽπšŠπšŒπš‘πšŽπš 𝚊 πšπšŽπšŠπš• πš πš’πšπš‘ π™²πšŠπšŒπš˜πš™πš‘πš˜πš—πš˜πšžπšœ πš πš‘πšŽπš›πšŽπš‹πš’ πšπš‘πšŽπš’ 𝚐𝚘𝚝 πšŠπš—πš˜πšπš‘πšŽπš› πš›πšŽπšŒπš˜πš›πšπš’πš—πš πšπš›πš˜πš– 𝚞𝚜 [πš… π™΄πš–πš™πš’πš›πšŽ], πšŠπš—πš πš’πš— πš›πšŽπšπšžπš›πš— πšπš‘πšŽπš’ πšŠπšπš›πšŽπšŽπš 𝚝𝚘 𝚌𝚎𝚊𝚜𝚎 πšπš‘πšŽ πšπš’πšœπš™πšžπšπšŽ πš πšŽβ€˜πš πš‹πšŽπšŒπš˜πš–πšŽ πšŽπš—πšπšŠπš—πšπš•πšŽπš πš’πš— πš πš’πšπš‘ πšπš‘πšŽπš–. πšƒπš‘πšŽ πš–πšŠπšπšŽπš›πš’πšŠπš• πšπš‘πšŠπš πš πšŽβ€˜πš πšπšŽπš–πš˜πšŽπš πšπš˜πš› π™³πšžπšœπš” πšŠπš—πš π™·πšŽπš› π™΄πš–πš‹πš›πšŠπšŒπšŽ πš—πšŽπšŽπšπšŽπš πšπš‘πšŽ πšœπš™πšŠπšŒπšŽ πšŠπš—πš πšŠπšπšπšŽπš—πšπš’πš˜πš— 𝚘𝚏 𝚊 πšπšžπš•πš• πšŠπš•πš‹πšžπš–, 𝚜𝚘 𝚠𝚎 𝚜𝚊𝚟𝚎𝚍 πš’πš.

Dani Filth revealed plans for a 20th anniversary release of the original 1995 Cacophonous recordings in 2015, and a release date was officially announced in 2016. Filth told Team Rock:

πšƒπš‘πšŽ πš˜πš›πš’πšπš’πš—πšŠπš• πš›πšŽπšŒπš˜πš›πšπš’πš—πšπšœ 𝚘𝚏 π™³πšžπšœπš” – πš πš‘πš’πšŒπš‘ πš πšŽπš›πšŽ πš•πš’πšπšŽπš›πšŠπš•πš•πš’ πš“πšžπšœπš 𝚜𝚊𝚝 πšπšŠπšπš‘πšŽπš›πš’πš—πš 𝚍𝚞𝚜𝚝 πš˜πš— πšœπš˜πš–πšŽπš˜πš—πšŽβ€™πšœ πšœπš‘πšŽπš•πš – πšŠπš›πšŽ πšŠπšŒπšπšžπšŠπš•πš•πš’ πšπš˜πš’πš—πš 𝚝𝚘 𝚜𝚎𝚎 πšπš‘πšŽ πš•πš’πšπš‘πš 𝚘𝚏 𝚍𝚊𝚒. π™Έπšβ€™πšœ πšπš˜πš’πš—πš 𝚝𝚘 πš‹πšŽ 𝚊 πš›πšŽπšŠπš•πš•πš’ πšŒπš˜πš˜πš• πš™πšŠπš›πš 𝚘𝚏 π™²πš›πšŠπšπš•πšŽ πš‘πš’πšœπšπš˜πš›πš’, πšŠπš—πš πš˜πš‹πšŸπš’πš˜πšžπšœπš•πš’ πšπš‘πšŽπš’β€™πšŸπšŽ πš—πšŽπšŸπšŽπš› πš‹πšŽπšŽπš— πš‘πšŽπšŠπš›πš πš‹πšŽπšπš˜πš›πšŽ πš‹πš’ πšŠπš—πš’πš˜πš—πšŽ.

The title for the new release was Dusk... and Her Embrace: The Original Sin. It was released on CD and digital on July 8, 2016. (Listen)



A vinyl version, limited to 666 copies, followed on October 10, 2016.



The liner notes confirm that the lineup for this version was almost the same as for The Principle of Evil Made Flesh, including Paul Allender, Paul Ryan and Benjamin Ryan, but excluding Robin Graves, who was shortly replaced by Jon Kennedy.



Allender, the Ryan brothers and Kennedy all left the band before the 1996 version of Dusk... was recorded.



Track Listing for Dusk and Her Embrace:

1. π™·πšžπš–πšŠπš—πšŠ π™Έπš—πšœπš™πš’πš›πšŽπš 𝚝𝚘 π™½πš’πšπš‘πšπš–πšŠπš›πšŽ (π™Έπš—πšœπšπš›πšžπš–πšŽπš—πšπšŠπš•) (𝟷:𝟸𝟹)

2. π™·πšŽπšŠπšŸπšŽπš— πšƒπš˜πš›πš— π™°πšœπšžπš—πšπšŽπš› (𝟽:𝟢𝟼)

3. π™΅πšžπš—πšŽπš›πšŠπš• πš’πš— π™²πšŠπš›πš™πšŠπšπš‘πš’πšŠ (𝟾:𝟸𝟺)

4. 𝙰 π™Άπš˜πšπš‘πš’πšŒ πšπš˜πš–πšŠπš—πšŒπšŽ (𝚁𝚎𝚍 𝚁𝚘𝚜𝚎𝚜 πšπš˜πš› πšπš‘πšŽ π™³πšŽπšŸπš’πš•β€˜πšœ πš†πš‘πš˜πš›πšŽ) (𝟾:𝟹𝟻)

5. π™ΌπšŠπš•πš’πšŒπšŽ πšƒπš‘πš›πš˜πšžπšπš‘ πšπš‘πšŽ π™»πš˜πš˜πš”πš’πš—πš π™Άπš•πšŠπšœπšœ (𝟻:𝟹𝟢)

6. π™³πšžπšœπš” πšŠπš—πš π™·πšŽπš› π™΄πš–πš‹πš›πšŠπšŒπšŽ (𝟼:𝟢𝟿)

7. πšƒπš‘πšŽ π™Άπš›πšŠπšŸπšŽπš’πšŠπš›πš πš‹πš’ π™Όπš˜πš˜πš—πš•πš’πšπš‘πš (π™Έπš—πšœπšπš›πšžπš–πšŽπš—πšπšŠπš•) (𝟸:𝟸𝟾)

8. π™±πšŽπšŠπšžπšπš’ πš‚πš•πšŽπš™πš πš’πš— πš‚πš˜πšπš˜πš– (𝟼:𝟹𝟸)

9. π™·πšŠπšžπš—πšπšŽπš πš‚πš‘πš˜πš›πšŽπšœ (𝚏𝚎𝚊𝚝. π™²πš›πš˜πš—πš˜πšœ 𝚘𝚏 πš…πšŽπš—πš˜πš–) (𝟽:𝟢𝟺)



Bonus Tracks for Coffin Edition:

10. π™·πšŽπš•πš• π™°πš πšŠπš’πšπšœ (πš‚πš•πšŠπš’πšŽπš› πšŒπš˜πšŸπšŽπš›) (𝟻:𝟺𝟷)

11. π™²πšŠπš›πš–πš’πš•πš•πšŠβ€˜πšœ π™ΌπšŠπšœπššπšžπšŽ (π™Έπš—πšœπšπš›πšžπš–πšŽπš—πšπšŠπš•) (𝟸:𝟻𝟺)



Leather Digibook Edition Bonus Track:

5. π™½πš˜πšŒπšπšžπš›πš—πšŠπš• πš‚πšžπš™πš›πšŽπš–πšŠπšŒπš’ '𝟿𝟼 (𝟻:𝟻𝟿)



Lineup for Dusk And Her Embrace (1996):

β€’ π™³πšŠπš—πš’ π™΅πš’πš•πšπš‘ – π™»πšŽπšŠπš πš…πš˜πšŒπšŠπš•πšœ

β€’ πš‚πšπšžπšŠπš›πš π™°πš—πšœπšπš’πšœ – π™Άπšžπš’πšπšŠπš›πšœ

β€’ π™Άπš’πšŠπš— π™Ώπš’πš›πšŽπšœ – π™Άπšžπš’πšπšŠπš›πšœ (πšŒπš›πšŽπšπš’πšπšŽπš, πš‹πšžπš πšπš˜πšŽπšœπš—β€˜πš πš™πš•πšŠπš’ πš˜πš— πšπš‘πšŽ πšŠπš•πš‹πšžπš–), πšœπš˜πš—πšπš πš›πš’πšπš’πš—πš πš˜πš— π™½πš˜πšŒπšπšžπš›πš—πšŠπš• πš‚πšžπš™πš›πšŽπš–πšŠπšŒπš’ β€™πŸΏπŸΌ

β€’ πšπš˜πš‹πš’πš— π™Άπš›πšŠπšŸπšŽπšœ – Bass

β€’ π™³πšŠπš–πš’πšŽπš— π™Άπš›πšŽπšπš˜πš›πš’ – Keyboards

β€’ π™½πš’πšŒπš‘πš˜πš•πšŠπšœ π™±πšŠπš›πš”πšŽπš› – Drums

β€’ πš‚πšŠπš›πšŠπš‘ π™ΉπšŽπš£πšŽπš‹πšŽπš• π™³πšŽπšŸπšŠ – Backing Vocals



Guest Musicians:

β€’ π™²πš›πš˜πš—πš˜πšœ – π™°πšπšπš’πšπš’πš˜πš—πšŠπš• πš…πš˜πšŒπšŠπš•πšœ πš˜πš— π™·πšŠπšžπš—πšπšŽπš πš‚πš‘πš˜πš›πšŽπšœ

β€’ π™³πšŠπš—πš’πšŽπš•πš•πšŽ π™²πš—πšŽπšŠπš“πš—πšŠ π™²πš˜πšπšπš’πš—πšπšπš˜πš— – π™±πšŠπšŒπš”πš’πš—πš πš…πš˜πšŒπšŠπš•πšœ



Production:

β€’ π™Ίπš’πš πš†πš˜πš˜πš•πšŸπšŽπš— – π™Ώπš›πš˜πšπšžπšŒπšŽπš›

β€’ π™³πšŠπš— πš‚πš™πš›πš’πšπš – π™΄πš—πšπš’πš—πšŽπšŽπš›πš’πš—πš

β€’ π™Όπš’πš”πšŽ β€œπ™΄πš‘πš˜πš›πšŒπš’πšœπšβ€œ π™΄πš‘πšŽπšπšŽπš› – π™΄πš—πšπš’πš—πšŽπšŽπš›πš’πš—πš

β€’ πš‚πšŠπšπš˜ π™³πšŽπšŸπš’πš—πš— – π™΄πšπšπšŽπšŒπšπšœ

β€’ π™΄πš’πš•πšŽπšŽπš— – π™²πš˜πšŸπšŽπš› π™Όπš˜πšπšŽπš•

β€’ π™½πš’πšπšŽπš• πš†πš’πš—πšπš›πš˜πšŸπšŽ – π™°πš›πš π™³πš’πš›πšŽπšŒπšπš’πš˜πš—

β€’ πš‚πš’πš–πš˜πš— π™ΌπšŠπš›πšœπšπšŽπš— – π™Ώπš‘πš˜πšπš˜πšπš›πšŠπš™πš‘πš’

β€’ π™²πš‘πš›πš’πšœ π™±πšŽπš•πš• – π™Ώπš‘πš˜πšπš˜πšπš›πšŠπš™πš‘πš’

β€’ πš‚πšŠπš•πšŸπšŠπšπš˜πš›πšŽ – π™°πš›πšπš πš˜πš›πš”

β€’ π™ΌπšŽπš£ – π™°πš›πšπš πš˜πš›πš”, π™»πšŠπš’πš˜πšžπš



Track Listing for Original Sin:

1. π™ΌπšŠπšŒπšŠπš‹πš›πšŽ, πšƒπš‘πš’πšœ π™±πšŠπš—πššπšžπšŽπš (π™Έπš—πšœπšπš›πšžπš–πšŽπš—πšπšŠπš•) (𝟷:𝟹𝟹)

2. π™½πš˜πšŒπšπšžπš›πš—πšŠπš• πš‚πšžπš™πš›πšŽπš–πšŠπšŒπš’ (𝟼:𝟢𝟺)

3. π™·πšŽπšŠπšŸπšŽπš— πšƒπš˜πš›πš— π™°πšœπšžπš—πšπšŽπš› (𝟼:𝟻𝟼)

4. π™³πšžπšœπš” πšŠπš—πš π™·πšŽπš› π™΄πš–πš‹πš›πšŠπšŒπšŽ (𝟼:𝟷𝟺)

5. 𝙰 π™Άπš˜πšπš‘πš’πšŒ πšπš˜πš–πšŠπš—πšŒπšŽ (𝟾:𝟺𝟼)

6. πšƒπš‘πšŽ π™Άπš›πšŠπšŸπšŽπš’πšŠπš›πš πš‹πš’ π™Όπš˜πš˜πš—πš•πš’πšπš‘πš (π™Έπš—πšœπšπš›πšžπš–πšŽπš—πšπšŠπš•) (𝟸:𝟢𝟸)

7. π™΅πšžπš—πšŽπš›πšŠπš• πš’πš— π™²πšŠπš›πš™πšŠπšπš‘πš’πšŠ (𝟾:𝟸𝟷)

8. π™±πšŽπšŠπšžπšπš’ πš‚πš•πšŽπš™πš πš’πš— πš‚πš˜πšπš˜πš– (𝟼:𝟹𝟼)

9. πšƒπš‘πšŽ π™·πšŠπšžπš—πšπšŽπš πš‚πš‘πš˜πš›πšŽπšœ 𝚘𝚏 π™°πšŸπšŠπš•πš˜πš— (𝟽:𝟷𝟸)

10. π™²πšŠπš›πš–πš’πš•πš•πšŠβ€˜πšœ π™ΌπšŠπšœπššπšžπšŽ (π™Έπš—πšœπšπš›πšžπš–πšŽπš—πšπšŠπš•) (𝟸:𝟻𝟿)

11. 𝙰 π™Άπš˜πšπš‘πš’πšŒ πšπš˜πš–πšŠπš—πšŒπšŽ (π™³πšŽπš–πš˜ πš…πšŽπš›πšœπš’πš˜πš—) (𝟾:𝟸𝟻)

12. π™½πš˜πšŒπšπšžπš›πš—πšŠπš• πš‚πšžπš™πš›πšŽπš–πšŠπšŒπš’ (π™³πšŽπš–πš˜ πš…πšŽπš›πšœπš’πš˜πš—) (𝟼:𝟷𝟻)



Cradle of Filth lineup for Original Sin:

β€’ π™³πšŠπš—πš’ π™΅πš’πš•πšπš‘ – π™»πšŽπšŠπš πš…πš˜πšŒπšŠπš•πšœ

β€’ π™ΏπšŠπšžπš• π™°πš•πš•πšŽπš—πšπšŽπš› – π™»πšŽπšŠπš π™Άπšžπš’πšπšŠπš›

β€’ π™ΏπšŠπšžπš• πšπš’πšŠπš— – πšπš‘πš’πšπš‘πš– π™Άπšžπš’πšπšŠπš›

β€’ π™Ήπš˜πš— π™ΊπšŽπš—πš—πšŽπšπš’ – π™±πšŠπšœπšœ

β€’ π™½πš’πšŒπš‘πš˜πš•πšŠπšœ π™±πšŠπš›πš”πšŽπš› – π™³πš›πšžπš–πšœ

β€’ π™±πšŽπš—πš“πšŠπš–πš’πš— πšπš’πšŠπš— – π™ΊπšŽπš’πš‹πš˜πšŠπš›πšπšœ

β€’ πš‚πšŠπš›πšŠπš‘ π™ΉπšŽπš£πšŽπš‹πšŽπš• π™³πšŽπšŸπšŠ – π™±πšŠπšŒπš”πš’πš—πš πš…πš˜πšŒπšŠπš•πšœ

β€’ π™³πšŠπš—πš’πšŽπš•πš•πšŽ π™²πš—πšŽπšŠπš“πš—πšŠ π™²πš˜πšπšπš’πš—πšπšπš˜πš— – π™±πšŠπšŒπš”πš’πš—πš πš…πš˜πšŒπšŠπš•πšœ



Guest Musicians:

β€’ πš‚πšπšŽπšŸπšŽ π™Άπš›πš’πš–πš–πšŽπšπš – πš…πš˜πšŒπšŠπš•πšœ (π™°πš›πšπš‘πšžπš›πš’πšŠπš— πš†πšŠπš’πš•πšœ) πš˜πš— π™·πšŠπšžπš—πšπšŽπš πš‚πš‘πš˜πš›πšŽπšœ

β€’ π™²πš›πš˜πš—πš˜πšœ – πš…πš˜πšŒπšŠπš•πšœ (πšπšŠπš‹πš’πš π™²πšŠπš™πšπš˜πš› 𝚘𝚏 π™±πšŽπšœπšπš’πšŠπš• π™ΌπšŠπš•πšŽπšŸπš˜πš•πšŽπš—πšŒπšŽ) πš˜πš— π™·πšŠπšžπš—πšπšŽπš πš‚πš‘πš˜πš›πšŽπšœ



Production:

β€’ π™°πš—πšπš’ πšπšŽπš’πš•πš•πš’, π™Όπš’πš”πšŽ π™²πš˜πš πš•πš’πš—πš, πš‰πšŠπš”πš” π™±πšŠπš“πš“πš˜πš— – π™Ώπš›πš˜πšπšžπšŒπšπš’πš˜πš—, π™΄πš—πšπš’πš—πšŽπšŽπš›πš’πš—πš

β€’ πš‚πšŒπš˜πšπš π™°πšπš”πš’πš—πšœ – π™ΌπšŠπšœπšπšŽπš›πš’πš—πš (𝟸𝟢𝟷𝟼)

β€’ π™³πš›πšŠπš”πšŽ π™ΌπšŽπšπšŽπšœπšπšπšŠ, π™΅πš›πšŠπšπšŽπš› π™½πš’πš‘πš’πš•, π™³πšŠπš—πš’ π™΅πš’πš•πšπš‘ – πš‚πš•πšŽπšŽπšŸπšŽ π™°πš›πš, π™°πš›πš π™³πš’πš›πšŽπšŒπšπš’πš˜πš—, π™³πšŽπšœπš’πšπš— πšŠπš—πš π™»πšŠπš’πš˜πšžπš



Notice: Any reviews shared here are for historical reference. The views and opinions expressed within are not always supported (in full or in part) by Into the Wells. β€” E.N. Wells



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