“The Manticore And Other Horrors”, the tenth studio album from British extreme metallers CRADLE OF FILTH, sold 4,500 copies in the United States in its first week of release to debut at position No. 96 on The Billboard 200 chart. The band’s previous full-length effort, “Darkly, Darkly, Venus Aversa”, opened with 5,800 units in November 2010 to land at No. 99.
CRADLE OF FILTH‘s 2008 CD, “Godspeed On The Devil’s Thunder”, premiered with a little over 11,000 copies to enter the chart at No. 48. This was slightly less than the first-week tally registered by 2006’s “Thornography”, which shifted nearly 13,000 copies the first week out to enter The Billboard chart at No. 66, and “Nymphetamine”, which premiered with almost 14,000 copies back in October 2004.
“The Manticore And Other Horrors” was released in North America on October 30 via Nuclear Blast Records.
Recorded in eight weeks at both Springvale and Grindstone studios (where it was also mixed by Scott Atkins), Suffolk, “The Manticore And Other Horrors” is a testament to the longevity of the ‘FILTH, as not only does it reek of CRADLE‘s (feared or revered) brand of delicious metal vamperotica, but this thoroughly modern album places the band firmly in fresh killing fields anew.
“The Manticore And Other Horrors” itself possesses an altogether new atmosphere for the band, incorporating a heavier, faster NWOBBM punk vibe that is both current and cruel, blended with ornate orchestration and the quirky immediateness of 2000’s “Midian” opus.
The album’s title can be likened to a bestiary, a collection of stories on monsters – personal demons, Chimeras, literary fiends and world-enslaving entities to blame but a few. “Manticore”, the ravening title track, is a song about a beautiful mythological horror that comes to be feared as the disfigurehead of foreign occupation in the Indian provinces.
The songs “Illicitus” and “Pallid Reflection” bear the sweet ingredients of vampirism and lycanthropy; the wicked “For Your Vulgar Delectation” and “Frost On Her Pillow” are woven perversely into grim fairy tales, whilst classic, monumental tracks like “The Abhorrent And Siding With The Titans” both extol tentacular Lovecraftian values.