Vrkolak – Carpathian Tyranny Returns

At lot of attention has gone to the Black Metal scene in Bosnia and Herzegovina, and for good reason. Band such as Sulphuric Night and Obskuritatem have garnered wide interest and acclaim and put their native Black Metal scene on the map. Mostly revolving around a few key figures, these bands are part of the Black Plague Circle. But another sign of the vibrant Black Metal climate is the existence of several of these collectives, of which the VIIIXIII collective consists of Aiqëhahirit, Dräkavtré, Humnerë, Llahtarë, Tmärrdhë, Vetëvrakh, Vrasësinerëzve and Vrkolak. First surfacing around 2012, many of the releases from these bands have surfaced through Black Gangrene Records, and the most recent release has the same origin. Nine years after its inception, Vrkolak presents their debut album, ‘Carpathian Tyranny Returns’.

While Black Gangrene is a common factor amongst the VIIIXIII collective, so is V.D.E.. Also known as Vrasësinerëzve, Drák Vrasësinerëzve Dvutë or Dvutë Errësirëstre, in Vrkolak (and some of the other bands in the collective) V.D.E. is the sole member. Whether the title of the debut album was meant to reference the Sargeist demo ‘Tyranny Returns’ is unknown, but there is certainly some resemblance in the raw sound and Black Metal style of that demo. Comparisons soon end after that, although perhaps ‘Never to be Found, My Coffin of Misery’ has a flair of Sargeist and Bosnian countrymates Sulphuric Night. Otherwise, Vrkolak plays very crude Black Metal inspired by the Norwegian and Finnish scenes and of course Bathory. A song like ‘War Hunger & Death’ mixes Bathory, Darkthrone and Urgehal into a raw yet rocking whole while the subsequent ‘Bewitching Lust‘ is a deliciously rudimentary and straightforward track, with a regressive Celtic Frost like break and catchy main riff as instant highlights.

As the album progresses it becomes clear that the charm of the album lies in the no nonsense approach and minimal amount of riffs but clear ear for catchiness and groove under the layer of raw guitars. V.D.E. seems very well aware that less is more, and it’s all about the power of the riffs. Having said that, the subtle melodies woven through ‘Moonlight Blasphemies’ (excluding the rather atonal solo) show a sense of intricacy is also not lost on him. So while ‘Carpathian Tyranny Returns’ essentially is a journey back to raw Black Metal as it was decades ago that even ends in a Bathory cover, the quality of the riffs make Vrkolak still very relevant and worthwhile in 2024.