Terror Trax: Cadaveria

TerrorTrax

Hello HorrorAddicts, recently we had the pleasure to interview Cadaveria. They are best described as a Horror Metal band with a blend of Black, Death, and Gothic Metal.

How did the band Cadaveria come together?

cadaveria-2016I founded the band with drummer Marçelo Santos in 2001. The band represents a virtual space where we can freely express ourselves through music and visual arts, since we care also about the band image, artworks and music videos. In these 15 years we have released five full length albums and a double DVD. Recently we entered the studios with legendary thrash metal act Necrodeath to give life to Mondoscuro EP.

What did you do before Cadaveria ?

For nine years (1992-2001) I have been the singer of pagan black metal band mondoscuroOpera IX.

What bands influenced you?

I grew up listening to rock music and I discovered heavy metal in 1990. Mercyful Fate, Holy Moses, My Dying Bride and the old school Norwegian black metal were my first passions.

What inspires you?

Everything can inspire me: my life, the experiences I do, people I meet, movies, art exhibitions, the book I read, the countries I visit. I write about my thoughts, my dreams and nightmares.

How would you best describe your music?

cadaveria-pic01Our music is a strange mix of black metal, gothic metal with doom and death metal influences. After the release of our previous album entitled The Shadows’ Madame fans and critics started to label our style as horror metal, for the sinister and gloomy atmospheres evoked by our songs. Basically this definition means all and nothing, that’s why we like it and we chose it as the title of our fourth record. The truth is that we play what we like and feel without following any trend.

What is the creative process like when you write music?

The lyrics come quite spontaneously. I’m used to write down short phrases that come to my mind, sensations, my believes, my mental flow. Then I reorganize them in a proper lyric and I merge this with music. Guitarist Dick Laurent is the main responsible for creating the riffs. We work together to create the songs structure, then other band members add their own touch.

Could you tell us about your latest EP Mondoscuro?

Cadaveria and Necrodeath share two band members (Flegias, their vocalist is our drummer Marçelo Santos – GL is the bassist of both the bands, even if in Cadaveria he uses peter Dayton as nickname) and have been in close contact for many years. A cooperation between us was in our thoughts since long time but we never made it for one reason or another. Finally last year Marçelo Santos came up with the idea to release something together. In the beginning it was supposed to be a simple split, but while the production was going on we enriched the track list with two songs composed and played together and we also covered each other. Mondoscuro was released on September the 2nd on CD via Black Tears lavel; a vinyl edition will see the light by the end of this year via Sleaszy Rider records. The EP features six songs: Mater Tenebrarum (by Necrodeath) performed by Cadaveria (guesting Lindsay Schoolcraft from Cradle of Filth), Spell (one of our hits) covered by Necrodeath, two new tracks composed together (Dominion of Pain and Rise Above), Cadaveria’s cover of Christian Woman (Type O Negative) and Necrodeath’s cover of Helter Skelter (The Beatles). The EP title refers to the cinematographic genre “Mondo film” of explicit documentaries, born in the 60s and depicting sensational, bloody and shocking scenes. Mondoscuro also clearly recalls Mondocane project, the legendary collaboration of Necrodeath and Schizo from which the album “Mondocane: Project One” was born in 1989. As the explicit artwork suggests, Mondoscuro is meant as a unique chapter in the bands’ careers, a birth and a death at the same time. A release that will soon become a rarity and collectible for our fans.

Where can people find out more about Cadaveria?

These are our channels:

Cadaveria.com

facebook.com/cadaveria

twitter.com/_cadaveria_

You can also check my page and instagram:

facebook.com/OfficialCadaveriaHerself

instagram.com/cadaveriaofficial

Cradle Of Fear

The first thing you need to know about Alex Chandon’s 2001 low-budget horror is that it has many imperfections – however like any treasured possession these can, and should, be overlooked. What lies beneath the odd shortcoming is a dark and twisted tale guaranteed to churn the stomach and shred the nerves. Let’s get the negatives out of the way and forgotten about from the start…

The acting is good in places but a bit wooden in others, however it is never terrible and certainly never bad enough to spoil a scene and take the viewer out of their immersion in the film. The texture of the film takes a bit of getting used to; the way it is shot looks from time to time like a cheap commercial – as do a few of the sets. Finally there is one piece of very ill-advised CGI that never fails to raise a smile, such is its cheapness. However none of these issues matter and the film has a sense that it is aware of its failings and doesn’t care. It knows where its strengths lie and sticks to those. With that out of the way, on with the important stuff:

Cradle Of Fear oozes with enthusiasm for horror. It is clearly made by people who love the genre and are not afraid to push the boundaries; in fact there is an obvious relish for doing so. The film consists of four separate vignettes which are tied together by a central story line concerning an incarcerated serial killer and cannibal, called Kemper, and his desire for vengeance on those involved with his murder trial and subsequent imprisonment. He does so using the rites of black magic from his cell in a lunatic asylum and the service of his supernaturally murderous son, known as The Man, played by Dani Filth of goth-metal band Cradle Of Filth.

As soon as the movie opens to graphically depict a disemboweled girl on a bed, the viewer is left in no doubt as to what they are about to let themselves in for. Herein lies Cradle Of Fears strongest card and why it is to be adored by lovers of true horror film-making: the special make-up effects are sensational. It is an irony that the film proves beyond a doubt why physical effects are scary and CGI effects are not. This is an ultra-gory film and is very violent, however it is also held together by a solid narrative and storyline with pacing delivered in a manner which is likely to engage those not usually predisposed to enjoying excessive gore.

The aforementioned gutless young lady provides the starting point of the first of the quartets of terror that Cradle Of Fear inflicts on its audience. Starring British B-Movie scream queen favorite Emily Booth as a beautiful goth out on a drug fueled night of clubbing, it quickly descends into terror involving demon rape, vile and genuinely frightening hallucinations and a conclusion that literally turns the stomach.

Next, two girls are introduced who intend to break into an elderly mans house and steal the money he keeps in a tin. Lessons are learned about the nature of greed, and how far some people are prepared to go for money. Bloody, violent lessons – naturally.

The next tale begins with a husband a wife snorting cocaine whilst speeding through the streets of London in an open-top sports car. When they run over and kill a tramp, they are relived that the car is not damaged and continue on their way home. After a bout of amputee sex (the husband is missing a leg) is ended prematurely by impotence, the distraught man goes about finding a corrupt doctor and brand new limb.

Finally Richard, an IT worker is introduced, who is obsessed with violent websites, and eventually stumbles on a difficult to access members-only site called The Sick Room. Here webcams can be viewed showing abducted individuals. The user can pay to select the criteria and level of abuse which is then enacted on the person onscreen. This becomes so compulsive, Richard loses his job, possessions and house until he decides to track down the operators of the website for some firsthand action.

The story of Kemper is entwined throughout these stories and the evil gothic presence of The Man is present in each. The film then proceeds towards its ending with more blood and guts until the screen is dripping red and few acts of violence imaginable have not been depicted.

The realism of the special make-up effects is what will turn horror addicts on and repulse all others in equal measure. During the course of the movie we see, amongst many other atrocities, disembowelment, razors slashed across a face, a broken bottle smashed into an eye socket and a leg hacked off. What separates this from run-of-the-mill physical horror is the skill with which it is executed. So brilliantly is each effect constructed the camera can linger for a long time, possibly too long, until the viewer is squirming in their seat and in some cases averting their gaze. This sense of realism is not avoided by the director either, if a limb is being severed with nothing but a knife – it takes a long time and is a messy job, with extra effort being required to get through the tough bone. Make no mistake, this film is horrific and where other films fail because the gore is too over-the-top to the point of humor – Cradle Of Fear manages to keep the mood repulsive and sinister.

The physical effects are not the only strength of this low budget shocker though. The whole atmosphere of the film is dark, gothic and ominous. Alex Chandon does not lose sight of the main plot point which is that Kemper is a baby murdering cannibal who uses black magic and the assistance of his demonic son (who is suitably clad in industrial goth fashion) to exact revenge on those he feels have wronged him. Large parts of the film feel like a very bad acid trip or a nightmare that only the most deranged of minds would be capable of conceiving. This leads to a very effective fluctuation between the heightened tension of fear and the powerful revulsion to the grotesque imagery.

If the viewer is able to overlook the obvious failings of Cradle Of Fear, and appreciate it for what it is, and for refusing to pretend to be something it is not, then the horror fan will be richly rewarded. More than most, this feels like a film for horror fans made by horror fans and it does not care if film-snobs and mainstream audiences hate it. It is a film with an uncompromising attitude, viewers with a similar nature will find it rewarding.

Written exclusively for Horror Addicts, and will subsequently appear on the author’s website:

www.transgressivecinema.com