Existence Is Futile is the thirteenth studio album by the British extreme metal band Cradle of Filth, released on 22 October 2021 through Nuclear Blast. Existence Is Futile features new keyboardist and backing vocalist Anabelle Iratni. Existence Is Futile is the thirteenth studio album by the British extreme metal band Cradle of Filth, released on 22 October 2021 through Nuclear Blast. Existence Is Futile features new keyboardist and backing vocalist Anabelle Iratni. false 2022-10-22 11:18:00 Existence Is Futile 8 2021 2021-10-22 2021-10-22 70 Black Metal Gothic Metal Melodic Black Metal Rock Symphonic Black Metal Symphonic Metal 112117 2372948 ce56e4bb-029d-4a32-a6f3-4610ce46da89 7e26cbe1-b8f5-4215-af82-e43d5f8ff308 b4a5fb87-08bf-49b8-b8f1-cdfc495075e0 /media/data/media5/Music/Cradle of Filth/Existence Is Futile (2021)/folder.jpg Cradle of Filth AlbumArtist Cradle of Filth Artist Cradle of Filth Cradle of Filth 1 The Fate of the World on Our Shoulders 01:37 2 Existential Terror 06:17 3 Necromantic Fantasies 05:40 4 Crawling King Chaos 05:27 5 Here Comes a Candle… (Infernal Lullaby) 01:28 6 Black Smoke Curling From the Lips of War 05:21 7 Discourse Between a Man and His Soul 05:30 8 The Dying of the Embers 06:08 9 Ashen Mortality 01:50 10 How Many Tears to Nurture a Rose? 04:34 11 Suffer Our Dominion 06:22 12 Us, Dark, Invincible 06:26 13 Sisters of the Mist 07:14 14 Unleash the Hellion 06:23 Cradle of Filth are an English extreme metal band formed in Suffolk in 1991. The band's musical style evolved originally from black metal to a cleaner and more "produced" amalgam of gothic metal, symphonic metal and other metal genres. Their lyrical themes and imagery are heavily influenced by Gothic literature, poetry, mythology and horror films. The band consists of its founding member, vocalist Dani Filth, drummer Martin 'Marthus' Škaroupka, bassist Daniel Firth, guitarists Marek 'Ashok' Šmerda and Donny Burbage, and keyboardist Zoe Marie Federoff. The band has broken free from its original niche by courting mainstream publicity. This increased accessibility has brought coverage from the likes of Kerrang! and MTV, along with frequent main stage appearances at major festivals such as Ozzfest, Download and even the mainstream Sziget Festival. They have sometimes been perceived as Satanic by casual observers, even though their outright lyrical references to Satanism are few and far between; their use of Satanic imagery has arguably always been more for shock value than any seriously held beliefs.