Back to the
most Middle-Ages Cradle of Filth goes this fourth CD from these Russians,
playing a sort of very symphonic metal, which is mainly Black metal-rooted
but not only, which can turn out to be the key to make themselves popular
After a seducing prologue by lusty Countess Elizabeth, the gates of
the castle get opened and a thunder roars, anticipating the wretched
wayfarers have made the best choice of their lives if they wished to
die in a lascivious end, otherwise in the worst if they just wanted
to make a halt. The efficient and nice "Royal Escort"
starts blasting fast, alternating rapidity with the most sympho C.O.F.,
showing delicate keyboards, entwined with fat guitars and followed by
mid tempoes. Male vocals whispered and then vampiric are the prelude
to others, black and death too, after a synthetized carillon. There's
a final guitar solo, one of those people who like neighing guitars will
adore, following fading female vocals eager to devour the visitors'
Like I said before there are several elements compounding this 8 track,
and a proof of that is for example "Majestic Countess",
in which Black and Classic metal are finely blended with each other
and with the enthralling long symphonic parts with further female vocals
by Katerina Polevina; double male vocals alternated with screams in
the blasts and a bass a bit hearable sometimes complete the picture.
A showy piano ride ("A Melody of Coming Nightmare")
with voices, shouts, some moanings and the noble woman's order to be
licked makes your cocks harder and prepare for "Seduction and
Defloration of Eleanor" (excellent title, by the way!); it
begins with soft piano notes but the rest of that includes very suffered
screams; a few power metal riffs make you relax before the blasts; once
again several vampiric male and tender lady vocals but the following
break is different from all the rest and I love it, since it touches
high level of funerality and the vocals sound really morbid, and then
they are whispered. Damn it! This is the most complete composition by
Black Countess, full of time changes, dynamic, well-written and the
one with the most erotic lyrics. When you see the artwork and the 2
wonderful Russian goddesses with those looks, clothes (not many actually,
eheh), bodies and eyes, you won't but wet your pants, believe me!
"Vampiric Nymphomania" attacks first and then slows
down abruptly, recurring to the Russians' typical keyboards trademark;
sudden bass drums rides and heavy metal guitars render it lively and
The short "The Chamber of Sapphic Vice" starts with
gloomy keboards, while some whispering male vocals suit the menacing
wind in the background; this is a piece of neoclassic metal and shows
a side of Black Countess that makes them different enough to Cradle
Probably the best riff and my favourite track, "Escape to Nowhere",
blazes without hurry and with all its grandeur; that's impetuous HM
with a couple of Norwegian Black metal riffs and clear Death metal influences
in the drumwork, matched with double Death and Black metal vocals alternated
or overdubbed, while the keyboards notes run fast. A crushing break
and the evil male vocals fill our ears before the tension keeps on creeping,
finally broken by the nth Power metal ride.
"The Last Chapter" concludes the concept, seeing Eleanor
led to the hall by Countess Elizabeth, carnally satisfied and not afraid
anymore of her master. Once again brutal male vocals are opposed to
female ones in a mid-tempo reserving a final blast where mainman Ilya
finishes his last energies singing and drumming divinely in a way fans
of Satyricon are going to recognize immediately.
The epilogue includes another instrumental piano/drums ride and brings
back to the initial theme; new rash travellers are about to end their
journey at the castle.
We approach 40 minutes on the whole, as the songs are quite elaborated
yet never complex. I can say that Black Countess almost excel in their
style, yet there's still something to improve. If you take their songs
separately they sound quite exciting, but when you know the album by
heart very well, you realize their formula requires a bit more diversity
from the leaders of the genre and less repetitions. The good news is
that they are able to dose and arrange breaks and patterns skillfully
within their songs, with special reference to guitars, vocals and drums.
Finally add a more incisive, refined recording, exalting the vocals
in a more piercing way and the band will have made a CD above the average.
Anyway, if you like Cradle of Filth and Anorexia Nervosa with several
injections of Power and classic Heavy metal, I don't see any reason
to advise against "Carivorous Romance".
MARKUS GANZHERRLICH - 12/7/04