This album contains the original recording of the band's second album from 1995 with the The Principle of Evil Made Flesh-lineup. Since the band did not like the result and the relationship with their then label (Cacophonous Records) got bad, they decided to not release it. Some members left Cradle of Filth to form The Blood Divine, while the rest plus new members recorded V empire… or Dark Faerytales in Phallustein, that was released instead of Dusk… and her Embrace via Cacophonous Records. In 1996 Music for Nations released the re-recorded version of Dusk… and her Embrace with the new lineup.
Badlands was a short-lived rock band founded by former Ozzy Osbourne guitarist Jake E. Lee and former Black Sabbath members Ray Gillen and Eric Singer. Badlands also featured bassist Greg Chaisson. After the first Badlands album, Eric Singer was replaced by Jeff Martin. The group lasted from 1988 to 1993 and released two albums, Badlands (1989) and Voodoo Highway (1991) before Gillen left and was replaced by singer John West from New York. Ray's death in 1993 effectively ended any hopes of re-uniting the project. The album Dusk (originally recorded in 1992 - 1993) was posthumously released in 1998.
Endlessly imitated and parodied, Ingmar Bergman's landmark art movie The Seventh Seal (Det Sjunde Inseglet) retains its ability to hold an audience spellbound. Bergman regular Max von Sydow stars as a 14th century knight named Antonius Block, wearily heading home after ten years' worth of combat. Disillusioned by unending war, plague, and misery Block has concluded that God does not exist. As he trudges across the wilderness, Block is visited by Death (Bengt Ekerot), garbed in the traditional black robe. Unwilling to give up the ghost, Block challenges Death to a game of chess. If he wins, he lives – if not, he'll allow Death to claim him. As they play, the knight and the Grim Reaper get into a spirited discussion over whether or not God exists. To recount all that happens next would diminish the impact of the film itself; we can observe that The Seventh Seal ends with one of the most indelible of all of Bergman's cinematic images: the near-silhouette "Dance of Death".