Review by Felix on May 16, 2026.

Female vocals that sound like the voice of a hungry predator were made socially acceptable by Sabina Classen, and powerful metal dominas like Lilith Necrobitch (Körgull The Exterminator, by the way, I want a new album!) made their way as well. Now comes The Countess from Great Britain, a region which is well known for its not-so-pleasant ladies (Maggie Thatcher, Fergie, and some more). Anyway, the Countess screams, nags, and commands in a very dominant form. The voice of the feminine answer to Dani Filth battles with the black metal inferno that surrounds it, and I must admit that the performance of our young female friend is impressive. During seven songs, 'Shackles Of Sin' is only a short visit in her torture room; she does not give in, but attacks with full force until the bloody end. So far, so good.

Does a typical British black metal sound exist? I don’t know, Blood Countess are less primitive than bands like Ulfarr or Frosten, less epic than Hecate Enthroned, and not as patriotic as Winterfylleth. Maybe Cradle Of Filth is one source of inspiration for them, although a song like 'The Scavenger’s Daughter' lets off much more steam than hundreds of Cradle tracks. This kind of stampede could have had a place on “The Principle Of Evil Made Flesh”, but hardly on the later releases of Dani’s circus. However, this high-speed song knows no mercy, and its drilling guitars form deadly, almost irresistible lines. 'Purge Of Trenčin' runs in the same vein. The double bass creates a proper whirlwind, clanging guitars seem to be on the run, and The Cuntess spits, hates, and screams as usual. Both highlights do not lack depth, cruelty, and explosive power. I must also mention 'Schadenfreude', not only because of its German title, haha. This track holds very malicious lines, its breaks are well embedded into the general structure, and the song’s flow must be described with the words swift and overwhelming. Given these tracks, it is a pity that the first songs of the album (which are no stinkers) do not have this massive impact as well. 'Chains Of Misdeed' starts and ends somewhere, and the most outstanding feature of 'A Humiliating Plea For The Glorification Of Erotic Suffering' is its name. Now Dani F. knows which title he has forgotten to use. But that’s not our problem, we enjoy the partly gloomy and mostly vehement configuration of the pretty strong closer 'Anna Nádasdy'. And I also must mention 'Sadistic Marchioness', the best, straightest, and most violent piece among the first three tracks.

And the lyrics? What about the lyrics, he? Well, what do you expect? The first line of the opener, “Cry and suffer my little slave,” says it all. Or do you prefer the initial words of the second track: “Molestation, carved into your flesh”? The Countess tells us her visions of sexual tyranny and bondage, and lovers will worship her as their new sadistic beast. Okay, to each their own. I rather prefer to listen to the album, a closer contact with this woman is not necessary from my side. The powerful and intensive production gives the album some extra plus points. Therefore, I do not hesitate to recommend this full-length, and I hope that their label takes the financial risk and has the courage to produce more than the ridiculous number of 300 CDs and 300 vinyls. The scene does not thrive on digital noise. Don't you believe me? Then go and ask Sabina how she got more or less famous. This much I can reveal: it’s not because of digital music files.

Rating: 7.8 out of 10