「吸血鬼派」金属教祖之终极鬼魅代表作，超越恐怖电影的阴森极限 体验歌德暴力美学的最高飨宴！
成军已超过十载的Cradle of Filth不仅是「吸血鬼」金属乐派的教祖，更是第一支以吸血鬼装扮强行入境梵地岗的重金属乐团，而其出名的程度光以专辑销售已破百万都不足以形容，因为当英国BBC等多家电视台争相报导或为该团製作特别节目之时，Cradle of Filth的主唱Dani早已跃升成为继Ozzy Osbourne之后，被公认为「恶魔皇子」的法定代言人！
历经专辑、迷你专辑、演唱会实况与DVD等11张作品的洗礼，2003新专辑「Damnation And A Day」以全新姿态跳脱独立厂牌进入SONY唱片体系，此外，Cradle of Filth更不惜成本进入吸血鬼发源地布达佩斯，与当地一支由40人与32人所组成交响乐团和唱诗班共同完成这齣彷彿为吸血女伯爵Elizabeth Bathory致意的死亡交响金属诗篇。
由阴森的交响序曲 "A Bruise Upon This Silent Moon" 拉开序幕，紧接着由吸血鬼唱腔与绵密的金属音符共同打造出Cradle of Filth成军以来最为鬼魅多变的邪恶乐章，而当乐曲不停地进行之时，是否已感受到吸血鬼的呐喊已经由耳际进入灵魄之中？欢迎进入Cradle of Filth所创造的「吸血鬼派」金属空间！
by Adam Bregman
What if a black metal band with a penchant for performance art and symphony-sized stage shows got a major label to back up and fund its perverted vision of apocalypse? The result would be something like Damnation and a Day, a metal album that features a 40-piece orchestra and 32-piece choir, but is still definitely extreme-sounding and can in no way be viewed as a sellout. Cradle of Filth was called a sellout long before they hooked up with Sony. Hardcore black metalers thought their stage show was too cartoony and Alice Cooper-like. That's true in a way -- the band's delivery of dark music comes filtered through a show that's more Cirque du Soleil than satanic. If any black metal band was ever going to be in league with the Beelzebub-owned music industry, it was Cradle of Filth. So not surprisingly, for their major-label debut the filthy ones have come up with a sprawling, 77-minute-long record. It has some grand-sounding moments and is recorded cleanly, with the symphonic and operatic elements being perhaps its best. But it is endless, and only a true Filth fan could tell one song from another. The song titles include "A Bruise Upon the Silent Moon," "The Promise of Fever," and "The Mordant Liquor of Tears," and obviously they are trying for something truly portentous with Damnation and a Day -- but it's a mess. Perhaps someone more level-headed at the record label or a gifted producer could have turned this into a record with real songs. As it is, it's a taxing, less-than-monumental work that won't win them many new mainstream fans, if that's at all what they had in mind.