1.
CRADLE is a gr… Read Full Bio ↴The artist Cradle can refer to four groups:
1.
CRADLE is a groundbreaking Japanese unit specializing and leading a beautiful revolution in mellow and jazzy Hip Hop track making.
Through their stunning first release “MAKE IT LAST (feat. Aloe Blacc (Emanon)” in 2005 CRADLE were immediately propelled into the spotlight through outstanding success in Japan. MAKE IT LAST was later released in the USA, Europe and Australia.
Their long-awaited debut album “ATTITUDE” streeted in June, 2006 and the albums immense popularity elevated CRADLE in the top tier of Japanese mellow Hip Hop artists, alongside the internationally acclaimed NUJABES and NOMAK at the forefront of the genre in Japan
As DJs CRADLE play with some of the biggest major and underground Hip Hop artists in Japan including NUJABES, DJ KRUSH, YASUHARU KONISHI (Pizzicato Five), SHUYA OKINO (Kyoto Jazz Massive, DJ KIYO, DJ JIN (Rhymester), DJ MILES (Breakestra), STARVING ARTIST CREW, DJ MITSU , THE BEATS (Gagle), DJ RYOW etc etc
Pursuing their dream sound (and also partly due to the risks and limitations using sampling) CRADLE (aka CRADLE ORCHESTRA) commenced working hard on creating their own unique “LIVE SOUND”, an exciting, new sound that they have always wanted to create.
By collaborating directly with some amazingly skilled and high profile musicians in Japan CRADLE now incorporate live violin, flute, piano, saxophone, bass, and many more instruments into their track making. This collaboration has resulted in the creation of amazingly beautiful and unique melodies with an incredibly original orchestra type sound……the CRADLE ORCHESTRA sound!
2.
The alternative lo-fi band Cradle (which started as Johans solo-project after quiting Flowers for Francis) was born on September 15, 1996 in Rotterdam, Holland.
After playing about everywhere around Holland and some European countries, Cradle decided to call it a day on August 1, 2004.
It was time to review and start all over. They changed their name into the rare, but continued beeing Cradle again in August 2007.
Since August 2007, Cradle was a duo most of the time: Henk and Johan together with a drummachine and sequencer.
Peter, the drummer, joined them on occasion.
After three gigs Henk and Johan decided to look for a permanent drummer again.
It took a few auditions, but since March 2008 Gilbert is now the man behind the kit.
But, he was not the only one joining the band: Nina (guitar) completed the line up in March as well.
Some past Cradle-highlights:
Cradle supported 16 Horsepower, Johan, The Suburbs and performed live in France, Germany, England and Holland.
Many radiosessions were aired and also some acoustic sets were on the bill.
Early 2001 they won a bandcontest: ‘De Kleine Prijs van Dordt’.
Late 2001 a videoclip was shown on the Dutch music-channel TMF.
Line up (2008)
Gilbert - drums
Henk - bass
Nina - guitar
Johan - guitar and voice.
Cradle’s typical sound and performance is raw, intens, hypnotic, loaded, pure and basic.
Let’s reanimate and “Enjoy the Feeling”!
[Besides Cradle, Johan is also working on his singer/songwriterproject The Weak And The Strong.]
Update 2010: Cradle have recently changed their name to Cradle FC.
3.
Evolving out of the roots Quatro sisters’ first band (the Pleasure Seekers), Cradle morphed into a much harder direction, contributing relevant lyrics, creative harmonies, and heavy original music with attitude. They rocked this Renaissance era of sheer, raw, driving “grit” that burst out of Detroit, as it fused the Motown influence, colliding with the English invasion and Acid Rock. Cradle gained popularity quickly, well respected by their musician peers, and touring the country’s pop festivals, concerts, and ballrooms on bills with Mountain, Peter Frampton, Alice Cooper, Joe Cocker, MC5, Iggy Stooge, Ted Nugent, and many legends of the day.
Though they were gaining momentum, Cradle’s ride was sadly cut short with the hard struggle women had to find credibility with the record companies, finally breaking up in 1973, as Suzi went on to a solo career and international fame, and Patti joined forces with Fanny on the west coast.
4.
Within a week of leaving Levitation in 1993, Bickers teamed up with guitarist Clive Giblin (Alternative TV, Shock Headed Peters, Two Worlds Collide, Sol Invictus). The duo formed a band called Paradise Estate, named after the Television Personalities' track as they were both fans. They spent about six weeks writing and recording the songs that would convince Warner Bros to sign Bickers, following which the pair drifted apart (with Giblin leaving the band).
Bickers renamed the project Cradle and drafted in three new members. A year later, unhappy with the band, Bickers approached Giblin and asked him to rejoin Cradle (also recruiting former King Kurt drummer Daniel). This line up – together with Bickers' partner, singer Caroline Tree – spent the summer of 1994 locked away in a studio in Lincolnshire recording an album for Warner Bros. The band recorded almost 20 tracks in various forms (with fifteen finished and mixed) but this period was allegedly a difficult time for all concerned due to strong destructive external influences in several band members' personal lives. The end result was an album and single for Warner Bros, neither of which were released (although some copies of the single were pressed and reviewed in the music press). Once again Giblin jumped ship, and not long after Warner Bros dropped the band.
Moving to Rye in Sussex, Bickers put together a third line-up of Cradle with himself on guitar, vocals, and various instruments, Caroline Tree as co-lead singer (and main creative foil) and Ian Mundwyler on guitar, plus a floating cast of contributing musicians. Recording sessions for this project were more successful and Cradle released what would be their only completed album, Baba Yaga, in 1995. This displayed a divided approach, alternating distinctly between noisy indie rock songs (predominantly sung by Tree) and ghostly psychedelic material (predominantly sung by Bickers) which showed a much softer approach than either Levitation or The House of Love. (During this period, Bickers also played on Divan, the 1995 debut album by Oedipussy, a project headed by former The Perfect Disaster member Phil Parfitt).[15]
In contrast to the reception afforded to Bickers' two previous bands, the press received Cradle with indifference or even contempt, with Caroline Tree being labelled as "the worst singer in the world" in a review in New Musical Express. Tree left the band shortly afterwards.[13][16] Despite playing a few concerts with Bickers as lead vocalist, and more or less ditching the more conventional indie rock approaches in favour of dark psychedelia, Cradle did not last for much longer and quietly dissolved in 1996.
Man Is A Man
Cradle Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Or the moon without the comfort of the stars
I am loathe to know it that a man without a soul
Is nothing but a spilled canopic jar
I proved it
Improved it
Drove a sonnet
And in this state of bliss
Evil kissed with wet lips
Pen-filled Fingertips
Which through me
For through me
Illuminati usually pissed
But with words of some hurts worth
I threw a party that extended God's list
Exciting new flames that my fame would claim for me
Reciting back the almanac of travesties
They call me bad
Mad Caliban with manners
Dangerous to know
A passing fad
Taught in all debauch
In excess and in canto
Grown wild
This child
Whole harems defiled
Faustina's and Mina's
Lady Libertine and her sisters between her
What spread of lies arise when lovers die
Which circle of hell is mine when I arrive
They call me bad
Mad Caliban with manners
Dangerous to know
A passing fad
Taught in all debauch
Crow against the virgin snow
Grown colder, my shoulder
Like a boulder beside her
And bolder, not wiser
My dark seed took up root inside her
That mouldered, where older
Beddings would hold a passionate sigh
But Laudanum and soda
Lord Numb coda
Merited a forest of inherited spite
Fleeing grief for foreign maps
I still played vampire aristocrat
Unloading my gun in hot, promiscuous laps
Then shooting swans in a gondola
I tripped my foot on a fallen star
And there's nothing like a mouthful of Venetian tar
To let you know just who you fucking are
[Ville]
The patron saint of heartache
I can't see my world is falling
The world is falling down
The patron saint of heartache
I Can't see my world is falling
The world is falling down
[Dani]
Everafter can they hear my laughter
[Ville]
The patron saint of heartache
[Dani]
Never craft a better bed of disaster
[Ville]
The Patron saint of heartache
They call me bad
Mad Caliban with manners
Dangerous to know
A passing fad
Taught in all debauch
In excess and in canto
They call me bad
Mad Caliban with manners
Dangerous to know
A passing fad
Whereupon I tell them
To go fuck their mothers
As so....
On my grave
The lyrics to Cradle of Filth's song The Byronic Man are highly poetic and dense with symbolism. The song seems to be about a man who is both deeply flawed and yet somehow elevated by his excesses and indulgences. The opening lines compare the man's loneliness to that of a poet on the walls of Jericho or the moon without stars. The man is said to be "loathe to know" that a man without a soul is nothing more than a spilled canopic jar. The idea of the canopic jar likely refers to ancient Egyptian burial practices, where the internal organs of the deceased were placed in jars to be stored with the body. This metaphor suggests that without a soul, a person is without value or meaning.
The chorus repeats the idea that the man is "dangerous to know" and a "passing fad". He is taught in "all debauch" and is associated with excess and in canto (an Italian word meaning "song" or "poetry"). The image of the man as a "mad Caliban with manners" reinforces the idea that he is both dangerous and uncivilized, but also capable of sophistication and refinement. Throughout the song, there are references to sexual promiscuity, drug use, and violence, all of which seem to be part and parcel of the man's identity.
The song is packed with literary and historical references, including nods to John Milton's Paradise Lost, Shakespeare's The Tempest, and the ancient Greek myth of Faustina. The use of the Illuminati suggests a fascination with secret societies and conspiracy theories. The line "Fleeing grief for foreign maps" could be a reference to Lord Byron himself, the poet who the song's title alludes to. Byron famously traveled extensively throughout Europe and the Middle East, seeking adventure and escape from his personal troubles. The song's exploration of excess, sexuality, and rebellion against social norms all tie into the Romantic ideal of the "Byronic hero", a type of character that Byron himself helped popularize in his writing.
Line by Line Meaning
As lonely as a poet on the walls of Jericho
Feeling isolated and abandoned, akin to a poet standing on the walls of the ancient city of Jericho.
Or the moon without the comfort of the stars
Feeling alone and without support or companionship, much like the moon appears in the night sky without the constellations around it.
I am loathe to know it that a man without a soul
Not wanting to accept that a person who lacks empathy and compassion is worthless, like an empty vessel or container.
Is nothing but a spilled canopic jar
This person is as insignificant and worthless as an ancient Egyptian jar that has lost all its contents when spilled.
I proved it
The artist has evidence to support their belief, indicating that their idea is more than just a feeling.
Improved it
The singer has developed and expanded their idea, building on their earlier conviction.
Drove a sonnet
Creating a poem, particularly one that reflects the singer's emotions, experiences and perspectives.
Right through it
Using their poem to explore, confront and challenge the idea they have about soulless men.
And in this state of bliss
In a state of rapture, perhaps from completing the poem or from the cathartic expression of their feelings and beliefs.
Evil kissed with wet lips
The artist finds pleasure and satisfaction in their darker desires, which are tempting and seductive.
Pen-filled Fingertips
The singer is a prolific writer, using their pen to capture the ideas that swirl around in their head and heart.
Which through me
Their writing is what feeds and sustains the artist, keeping them engaged in life despite the darkness they express.
For through me
Because of the singer's emotive writing and expression, they are empowered to continue living.
Illuminati usually pissed
The secret organizations or groups that hold power and influence are probably upset by the singer's ideas or viewpoints.
But with words of some hurts worth
The singer's written words convey meaningful emotions and experiences, perhaps painful or difficult ones.
I threw a party that extended God's list
By creating and sharing their writing, the artist is inviting others to join them in exploring deep, unsettling truths.
Exciting new flames that my fame would claim for me
The artist is excited by the attention and acclaim their writing is garnering, imagining the bright path ahead for them.
Reciting back the almanac of travesties
The singer is using their writing to remind others of past wrongs or tragedies that have occurred, so that history is not forgotten.
They call me bad
Others judge the singer harshly based on their ideas and writings.
Mad Caliban with manners
The artist is like the character Caliban from Shakespeare's The Tempest, portrayed as a wild and dangerous creature but with a veneer of civility.
Dangerous to know
The artist's ideas and writings are seen as threatening or disruptive to the status quo.
A passing fad
Some view the artist as a temporary fashion or trend that will be forgotten in time.
Taught in all debauch
Exposed to and knowledgeable about various vices and sinful behaviours.
In excess and in canto
Indulging in writing poetry extravagantly, both in terms of content and style.
Grown wild
The singer has developed in a way that is fierce and untamed, perhaps reflecting their unconventional ideas or worldview.
This child
Despite being grown up, the singer still embodies a youthful or childlike spirit that imbues their personality and behaviour.
Whole harems defiled
The singer has engaged in sexual escapades and conquests of multiple women, in a manner that could be perceived as disrespectful or damaging.
Faustina's and Mina's
The names of historical women who may have been associated with or victims of the artist's sexual exploits, adding a sense of gravitas and/or tragedy to the lyrics.
Lady Libertine and her sisters between her
The artist has been with women of varying status and moral character, blurring the lines of propriety and social norms.
What spread of lies arise when lovers die
In the aftermath of a romantic relationship ending, various stories, rumours or falsehoods can come to light, reflecting poorly on the singer or their former partner.
Which circle of hell is mine when I arrive
The singer is aware that their actions and choices may have consequences, and they wonder what kind of punishment or torment they will face after death.
Grown colder, my shoulder
The artist has become more jaded or distant, cutting themselves off from others emotionally or physically.
Like a boulder beside her
Metaphorically, the artist is a heavy and unwieldy presence, impeding the progress or happiness of their female partner.
And bolder, not wiser
The artist has become more confident and assertive, but not necessarily more intelligent or thoughtful.
My dark seed took up root inside her
The singer impregnated a woman, possibly unwillingly or carelessly, leaving behind a legacy that may be painful or traumatic.
That mouldered, where older
As time passed, the relationship or experience rotted or decayed, causing harm or leading to regret.
Beddings would hold a passionate sigh
In the past, the singer and their partner had moments of intense and genuine emotion, symbolized by the shared experience of sleep and rest.
But Laudanum and soda
The singer has turned to dangerous or addictive substances to numb their pain or distract themselves from reality.
Lord Numb coda
Some sort of musical or literary allusion to the singer feeling emotionless or detached, unable to experience empathy or affection.
Merited a forest of inherited spite
The artist has perhaps done things in the past that justify others' anger or resentment towards them, even many generations later.
Fleeing grief for foreign maps
The artist is trying to escape their emotional pain by travelling to new or exotic places, hoping that distance can help them heal or change.
I still played vampire aristocrat
The singer has an affectation for the macabre, enacting a persona of a wealthy and powerful vampire, perhaps as a form of escapism or power fantasy.
Unloading my gun in hot, promiscuous laps
The singer is engaging in sexual or violent activities that are dangerous or reckless, with no real regard for the consequences.
Then shooting swans in a gondola
The artist is committing acts of cruelty or destruction for no apparent reason, causing harm to innocent creatures.
I tripped my foot on a fallen star
The artist encounters some form of bad luck or misfortune, feeling like their destiny or fate is out of their control.
And there's nothing like a mouthful of Venetian tar
The artist has a bitter or unpleasant experience, perhaps literal (tasting tar in Venice) or figurative (encountering deceit or betrayal).
To let you know just who you fucking are
The experience of hardship or discomfort can reveal important truths or knowledge about oneself, giving the singer a clearer sense of identity or purpose.
The patron saint of heartache
The artist is a symbol or representative of emotional pain and sorrow, embodying the suffering that others experience.
I can't see my world is falling
Despite being attuned to the suffering and sadness of others, the singer is not able to perceive their own destruction or downfall.
Everafter can they hear my laughter
The singer's legacy or essence continues on even after they die, as evidenced by their laughter echoing still.
Never craft a better bed of disaster
The singer does not wish for others to follow in their footsteps, creating a life or path that is wrought with pain and misery.
Whereupon I tell them
At this point or in this instance, the artist speaks to those who judge or criticize them.
To go fuck their mothers
The artist is vulgar and dismissive towards their detractors, telling them to engage in an incestuous or taboo act as an insult.
As so....
The singer concludes with this statement, which may reflect resignation, defiance or some other emotion.
On my grave
This final phrase suggests that the singer may be dead or dying, and this statement is their legacy or final words.
Lyrics © Peermusic Publishing
Written by: CHARLES HEDGER, DANIEL LLOYD DAVEY, DAVE PYBUS, PAUL JAMES ALLENDER
Lyrics Licensed & Provided by LyricFind
@AprellaDguild
I love the lyrics... just amazing how they play with words... Ville his warm voices fits in beside Danni's harsh and cold one It brings a strange kind of harmony to it. "'the patron saint of heartache" really fits Ville... I could have come from one of his bands songs...
@MCat360
Wow! Never imagined Ville doing a song with Cradle of Filth. Pretty freakin awesome!
@zestatativan
everything that ville touches turns into perfection
@canyonsickles1505
So... freaking....true.
@TonyTama
YES!
@VanitySkating
+bomt i was raised in the hood and i still know this
@pantherex4284
Same with Dani Filth ;)
@AssPimple69
his part is literally what ruins this fucken song
@keithclayton1271
One of the most lyrically-complex songs ever written. Lots of classic references.
@alexandervladimirovich576
+Keith Clayton
Truth!