Former Cradle of Filth keyboardist Zoë M. Federoff has released a detailed statement explaining her departure from the band. She also shared leaked contract details that she claims reveal exploitative practices. The statement was shared on Facebook.
Federoff’s statement addresses the circumstances surrounding her and her husband Marek “Ashok” Šmerda’s departure from the symphonic black metal band. She directly criticized both management and frontman Dani Filth.
“A further statement on the departure of myself and Ashok from Cradle of Filth and a warning to our successors — read the contract,” Federoff said. “We planned this transition out of Cradle of Filth months ago. Management is dishonest, manipulative, and tries to take money that belongs to us with no contract between us session musicians and him.”
She detailed alleged financial disputes and workplace harassment that led to their decision to leave.
“When I called them out on this attempted theft of album advance money from Screaming of the Valkyries, they called me ‘cancer’ and ‘dead horse’ and threatened to fire me,” she continued. “The frontman does nothing to stop them and hides behind them while they belittle and steal. We hold the frontman responsible for hiring this management and never advocating for his team, only himself.”
Federoff also criticized the band’s financial arrangements and working conditions for session musicians.
“The atmosphere he creates is threatening and abusive and constantly exploits us for very low wages yet also demands exclusivity to Cradle’s schedule,” she explained. “We do not make even the bare cost of living, yet we are told not to tour with other bands to supplement income. It is madness to keep people locked in poverty for the ego of one person.”
The statement included details about a contract that Federoff claims was designed to trap session musicians. This was despite offering only a modest pay increase.
“We attach the contract they attempted to trap all session members in for a 25% raise (the first raise in 7 years),” she said. “Our lawyer called it the most psychopathic contract a session musician could ever be handed. We did not sign and made a decision to leave this year instead.”
Federoff concluded by revealing personal costs of the working environment. She included health impacts that affected her family.
“We left because we were being used and paid less than the cost of living, the environment is toxic and threatening… and the toll this was all taking on our lives and our marriage grew too great,” she stated. “The health toll it took on us also led me to miscarry our first pregnancy on tour. We chose to leave to save ourselves and create a better future for our family.”
The controversy escalated quickly following the couple’s public statements. There were immediate consequences for both musicians involved in the dispute.
Louder Sound reported that Cradle of Filth officially fired guitarist Marek “Ashok” Šmerda immediately after his statement. Frontman Dani Filth confirmed the termination rather than letting him finish the current tour. The band moved swiftly to replace Šmerda. Loudwire noted that Dani Filth indicated Šmerda’s role had been filled temporarily by singer Kelsey Peters, a member of the band’s CREWDLE fan club initiative.
The financial details revealed in the leaked contracts paint a stark picture of the musicians’ compensation. Guitar World documented that Šmerda and Federoff shared screenshots of their alleged contracts showing payment at roughly £150 per day and an annual income near £25,000. They called these figures insufficient compared to the demands placed on them.
The couple’s joint statements emphasized what they described as a pattern of exploitation within the band’s structure. The PRP covered their accusations that focused on the “threatening and abusive” atmosphere Dani Filth allegedly fostered. They claimed that he exploited band members financially while focusing solely on his own interests.
The controversy has drawn attention to broader issues within the music industry regarding fair compensation for session musicians and the power dynamics between band leaders and supporting members. Metal Injection highlighted that the swift firing of Šmerda following his public criticism has raised questions about retaliation against musicians who speak out about working conditions.
This statement follows previous announcements of both musicians’ departures from Cradle of Filth. It adds significant context to the circumstances surrounding their exits from the band.
