Review by Felix on February 28, 2024.

No doubt, Hungarian hordes do no flood the metal market. In terms of (extreme) metal, Elisabeth Bathory is probably the most popular person from this country – and she never recorded a metal album, if I am not mistaken. Either way, Dusk have already released eight full-lengths and “Carpathian Darkness” saw the light of day in 2005, if there is any light in the name-giving darkness at all.

Dusk play, of course, true Carpathian black metal, but I fear this alone is no sufficient description. Let’s delve a little deeper. First of all, the excessively designed tracks follow a mostly linear approach. Shadow, the mastermind behind the banner of Dusk, obviously has an aversion against breaks which give a song a new direction. Even tempo changes are no big factor. But before some of you start to moan about monotony, boredom and a lack of imagination, I affirm that the cuts have enough potential and substance to attract the listener. The guitar lines are neither innovative nor extraordinary, but they underline the deep connection between Dusk and the style they have chosen. The inspirations from Norway, especially Darkthrone, to a certain extent, Gorgoroth, are clear, but come on, who wasn’t influenced by the insane pioneers of the second wave? The groundbreaking albums from Norway, released roughly ten years before “Carpathian Darkness”, still give orientation for many newcomers and they definitely did so in 2005.

The production features three elements. The desperate screaming of Shadow, the strict, sometimes galloping guitar lines and, if one listens closely, drums that drown in the guitar noise from time to time. Of course, it almost goes without saying that the bass is a completely unknown instrument for the band. Nevertheless, the mix works, because it is filthy and raw, but not amateurish and cheap. Okay, the guitars do not create an inferno of malignancy, but they are sinister enough to set the right frame.

All songs except the slow and somewhat sluggish closer reach a solid quality level. Due to their similar patterns, they form a coherent full-length. Every now and then, I miss a higher degree of dynamic, but this is not to say that the first five compositions show real shortcomings. However, if we set the bar high, a little lack of individuality occurs. The vocals and some (often repeated) guitar lines are very typical for the sub genre and could originate from thousands of other formations as well. One can love this or one can say that a little personal touch would have been a good thing. Anyway, the cool, well-hung lines of the opener seem to come directly from moist dungeons and “Black Gate” houses nearly catchy parts without hurting the laws of the underground. Summing up, “Carpathian Darkness”, ornamented with a stylish artwork, is no milestone, but it would have delivered a proper soundtrack to the evil deeds of Countess Bathory – and so the Hungarian circle closes.

Rating: 7.2 out of 10