The cover artwork for “Midnight In The Labyrinth”, an orchestral album which reinvents tracks from CRADLE OF FILTH‘s first four albums and includes choirs, strings and some narration, can be seen below. Due on Record Store Day (April 21) in participating countries and as a strictly limited-edition two-disc set of delectable magic in the rest of the world, the effort will contain narrated nightmares courtesy of CRADLE OF FILTH frontman Dani “Filth” Davey, plus additional vocals from Sarah Jezebel Deva, on disc 1, while disc 2 will include purely orchestral and symphonic recordings.
“Midnight In The Labyrinth” is the latest, inspired work, from British extreme metallers CRADLE OF FILTH, traversing an ethereal cinematic landscape of classical and symphonic darkness; a style the band has always woven seamlessly into their compositions.
Taking the most requested tracks from the first four official releases, CRADLE OF FILTH have fulfilled audience desire by creating an album based on their most popular older tracks, but one that is delivered orchestrally to create a rich, haunting sonic landscape in the vein of soundtrack composers such as Jerry Goldsmith, Danny Elfman and Hans Zimmer.
Ten songs make up this 78-minute meisterwerk (including the addition of a thirteen-minute exclusive aural séance on CD1), indulging such CRADLE OF FILTH classics as “Funeral In Carpathia”, “The Twisted Nails Of Faith” and “Summer Dying Fast”, which has already been showcased on last year’s “Evermore Darkly” EP to a more than rapturous audience response.
Filth stated in a recent interview about the band’s decision to record an orchestral album, “We’ve been talking about it for ages. We’ve always been fans of soundtracks and being cinematic and gracing our albums with that sort of similar content. We just wanted to do an album that stood alone. The opportunity came to re-record, as other bands have done, some earlier material. But we thought no, why not re-imagine select songs the fans really like from our first few releases, and then interpret them as orchestral pieces?”
Filth previously described “Midnight In The Labyrinth” as “no elevator music (or indeed the theme music to ‘Schindler’s Lift’!); this is a full-on horror film soundtrack in the vein of Danny Elfman, Christopher Young or Jerry Goldsmith. Musical scores to whittle away the evil winter months to…”