Introduction
Over the last 4 years one of the biggest noises in Atmospheric Black Metal has been Batushka. Their beautifully original take on black metal; mixing it with the chants and aesthetic of the Eastern Orthodox Church (which includes the Russian Orthodox and Greek Orthodox Churches. The Eastern Orthodox Church schism’d from the Catholic Church in AD 1054, and has a very musical form of worship, the liturgical ceremonies or Synaxis are sung rather than spoken), has captivated audiences and gained them a large amount of very passionate fans. Their first album Litourgiya was a fantastic piece of black metal that sounded pretty much unique, and there was a huge expectation building about what the band were going to produce next.
However, just as that expectation was about to peak everything seemed to go wrong, when last December reports started to come out of band members being locked out of the bands social media. Then, a statement was posted by lead singer, and label owner Bartlomiej “Bart” Krysiuk saying that founding member and writer of all the music and lyrics Krzysztof Drabikowski had been sacked from the band. According to Krzysztof Drabikowski, he had been locked out of most Batushka social media, and that Bartlomiej “Bart” Krysiuk was basically trying to steal the band from him. The Drummer (who has only used the name Martin to identify himself) from Batushka has released a statement saying that Krzysztof Drabikowski was indeed the main creative person behind the project, but wouldn’t have done much with it without himself and Bartlomiej “Bart” Krysiuk pushing him to make Batushka a live band. His statement seemed to suggest that the most important part of a band is the PR and Booking agents rather than the person who writes the music.
There have been lots of accusations and shrill denunciations from both sides, statements and counter statements, a court case, and things have ended up being messier than the whole King/Gaahl’s Gorgoroth vs Infernus’s Gorgoroth situation from 2008. Shortly after the schism took place Metal Blade Records announced that they had signed Bartlomiej “Bart” Krysiuk’s version of Batushka, the version that is known on social media as Faketushka (although there have been lots of other versions of this, my personal favourite is Fauxtushka). If you fancy a laugh have a look at any of the comments on Metal Blades facebook posts about the new “Batushka” album, most metal fans are in no doubt which version of Batushka they think is the valid one.
So, it’s now a few months since this debacle started, both Batushka’s have, or are about to release albums, so we can now listen to both of them and make our own minds up over which is real and which is fake.
Батюшка - Панихида [Panihida] (Self Released)
This album is mainly the work of 1 man, the aforementioned Krzysztof Drabikowski. As I understand it, the harsh voice on this album is Krzysztof, I’m not sure who does the chanting, but whoever they are they are just as good, if not better than Bart’s chanted vocals on Litourgiya. The album has the same structure as the first album; 8 songs called Песнь 1, Песнь 2 etc. Песнь 1 starts with very simple, quiet clean guitar. Straight away we are reminded of Litourgiya, that slightly tinny guitar sound is so distinctive, this has the correct ‘Feel’ for Batushka. Heavy guitar and chanting come crashing in, this slowly morphs into a tremolo picked riff that leaves you in no doubt that this is the same mind that wrote the first Batushka album. Number 1 is mainly mid-tempo, with layered guitar and chanting. It’s a simple start, but it is authentic.
Песнь 2 is faster, right from the first note. We are straight into a fast blast-beat, that is packed with energy and in a couple of slower moments has some fantastically effective chanting. At this stage I should make a point about the chanting that is so important to the Batushka sound. The chanting on the first Batushka album wasn’t just samples that were mixed in with the Black Metal for effect, there is a very real reason Batushka sounded special. Most chanting I have heard in metal has been some form of Gregorian chants, which come from a western, Catholic tradition. Batushka used chanting from the Eastern Orthodox Church, which work in a very different way to Gregorian chants (Gregorian chants are more of a musical interlude in a service, rather than the lesson and service itself). There is no strict time signatures in Eastern Orthodox Church Liturgical chanting, however there is an inherent timing based on the number of syllables used in each phrase that is sung. What Krzysztof has done, is to build the riffs around this inherent timing based on the syllabic structure of the chanting. The reason that the chanting feels so bedded in, so part of the music, like the riffs have sprung from the chanting, is because that is literally what has happened. This also shows a deep understanding of liturgical music.
Песнь 3 is a mix of mid-paced blasting and slower, more measured riffing. Again the riffs, chanting and clean guitar feel reminiscent of the first album. Number 3 has some very nice rhythmic devices in the slower parts. Although tracks 1 - 3 are definitely by the same mind that brought us Litourgiya, this is very similar to the first album, it’s Песнь 4 where we start to move forward. Песнь 4 starts with a choir, before blasting into a huge tremolo picked riff, which then has harsh vocals (genuinely think Krzysztof’s harsh vocals are better than “Bart’s”), and the choir at the same time. The result is huge, multilayered and a definite step forward from Litourgiya. It feels like there is a huge amount going on, but it all has the same direction and purpose. The excitement for new Batushka, was the expectation that they might make something like this. Песнь 5 Starts slow and heavy, before going into beautifully fast and flowing blasts and tremolo picked riffs. There is some very effective chanted passages, that are very atmospheric, but this song is mainly about the fantastic blasting. The fast passages also have the layering of chants and harsh vocals, giving them a lot of depth, despite the savagery of the riffing.
Песнь 6 is a more measured track. The there is a discordant feel to some of the slower riffing at the beginning of the song, coupled to some very dense, layered chanting. The track has some faster sections, but the overall feel is mid-paced, but with depth and feeling, this track feels like it has a more of an emotional centre than some of the other tracks. This is another track that feels like Batushka are moving forward from what they made with the first album. The structure is more complex, more layers, this feels like a more mature piece of work than the first album. Песнь 7 is a simpler track. Mid-paced and flowing (the riffs on this album have a sweep, and flow that is just fantastic, almost perfect pacing), with occasional blasts, before a slow and heavy ending. Песнь 8 is a mix of fast and mid-paced riffing. Again the riffs flow beautifully, tempo wise this is a fantastic album, the drumming as stunning, huge amounts of inertia and energy, definitely much better than on the first album. The track comes to an end with a slower section that has some fantastically atmospheric chanting, and brings the album to an end, beautifully.
Панихида (Panihida) is a great album. However, it’s not the huge step forward that most Batushka fans were hoping for. There have definitely been some progress, Песнь 4 and 6 are cases in point, but the other tracks, although incredibly enjoyable, are quite similar to the first album. The progress that Песнь 4 and 6 show probably would have spread to the whole album if Krzysztof Drabikowski had been able to concentrate on the album, and not had to fight to keep control of what, let’s face it, was always HIS project. Making an album with the expectation that was attached to the second Batushka LP was always going to be difficult and daunting; making that album and fighting a court case, with no record company backing or support, whilst having to constantly defend himself from smears and innuendo from the other Batushka camp, what Krzysztof Drabikowski has produced is nothing short of amazing. The fact that he has managed to move the project forward at all deserves respect, producing 2 tracks like Песнь 4 and 6 is staggering. This is clearly the second Batushka album; talent will out, the answer is in the music. 8/10
Batushka: Hospodi (Metal Blade Records)
You’ve got to feel a little sorry for Metal Blade. They thought they had signed the hottest band in Black Metal, then to find out that they had a deal with the lead singer, and not the creative mastermind behind the whole project. I do have some sympathy for them, but not that much due to how they have behaved since discovering they had signed a cuckoo band. So, coming a couple of months after Панихида (Panihida), how does this album, made with record company support and money, stack up when compared to what most fans would consider the ‘Real’ Batushka album.
Not well is the simple answer, but as this is a review we’d better go deeper. Wozglas is a simple introduction to the album. There are bells and chants, percussive instruments and other general things that suggest ‘Batushka’ without really being it. The chanting, although in the right voice (it’s ‘Bart’ who sang on the first album), but the chants sound strange. The pacing and tempo is wrong, it doesn’t sound like liturgic chanting at all. Dziewiatyj Czas is the first track, it feels like simple melodic death metal (something that runs through the whole album), with added chants and bells. The harsh vocals are the same as on Litourgiya, but without the amazing backing the first album had, you notice that ‘Bart’s’ vocals are pretty weak, he just sound like he’s screaming, there's no nuance. The guitar sound is wrong too, not the very distinctive one used on the first album. Another anachronous thing about this song is the use of a chant that sounds like the Hallelujah chorus, which is so wrong.
Wieczernia is another track that sound more like melodic death metal, ok there's quite a lot of chanting on this track, but in many ways the more this band try to sound like Batushka, the more fake they seem. The chanting feels far more Western than it should, there is also a problem that it doesn’t feel part of the music, it’s placed on top of everything else, rather than being the thing all the rest of the music sprang from. There is a bit of blasting at the end to add a little black metal feel, but by this time it’s too late. Powieczerje starts with a recording of soft chanting that sounds like it was recorded in a church. This track is basically melodic death metal with chanting. However, on this track is ok melodic death metal with chanting. The central riff that runs through most of the track is quite good, it flows nicely and is enjoyable; doesn’t sound like Batushka, but it’s an ok song.
Polunosznica starts with what sounds like drunken singing before going into a clean riff where the clean guitar sound is totally wrong, not the oh so distinctive clean guitar sound from Litourgiya. We get a bit of blasting but it’s more like hardcore than black metal, and there are a lot of screaming guitar solo’s that don’t fit at all. It’s an ok song, but doesn’t fit with the other material, or the first Batushka album. Utrenia has a definite ‘Eastern’ feel to it, but it’s the wrong kind of eastern. This sounds Middle Eastern rather Eastern European. Imagine if Melechesh made a half arsed melodic death metal album, this is what it would sound like. Pierwyj Czas is actually a decent piece of blasting black metal, not like Batushka, but not bad. Well done guys, you made one decent black metal track! Tretij Czas starts with chanting, but from the wrong, western tradition. ‘Bart’ keeps on getting the wrong christian tradition. The rest of the song is mid-paced and rather lacklustre. It feel like the song doesn’t go anywhere. Szestoj Czas starts slow, and then never really gets going. It’s ploddy, rather than slow and heavy.
To be honest, calling the final track on this album Liturgiya, is down right rude. The track is slow, has lots of the wrong sort of chanting and never really gets going. The last 3 tracks are just abysmal. They don’t feel finished, half realised songs that never get going. Part of me thinks this is down to lack of talent and effort, but it might also have been rushed out to try to compete with the other Batushka album. The last 3 tracks are so lacklustre and half arsed, but might also not be finished, which really isn’t acceptable. Hospodi is not a good album. If this had turned up in my review pile with another band name on it, I would still be giving this a terrible review. It’s a lacklustre hodge podge of bits and pieces that ‘Bart’ and his mates thought fitted with an Eastern European religious music theme. Most of the album sounds like Melodic Death Metal, that has been slapped together by a bunch of lazy session musicians trying to steal someone else’s unique musical style, and failing miserably. I’ll make my thoughts on how this compares to the other Batushka album in the conclusion, but my opinion of this album is pretty clear; it’s crap, don’t buy it. 4/10
Conclusion
Over the last 4 years one of the biggest noises in Atmospheric Black Metal has been Batushka. Their beautifully original take on black metal; mixing it with the chants and aesthetic of the Eastern Orthodox Church (which includes the Russian Orthodox and Greek Orthodox Churches. The Eastern Orthodox Church schism’d from the Catholic Church in AD 1054, and has a very musical form of worship, the liturgical ceremonies or Synaxis are sung rather than spoken), has captivated audiences and gained them a large amount of very passionate fans. Their first album Litourgiya was a fantastic piece of black metal that sounded pretty much unique, and there was a huge expectation building about what the band were going to produce next.
However, just as that expectation was about to peak everything seemed to go wrong, when last December reports started to come out of band members being locked out of the bands social media. Then, a statement was posted by lead singer, and label owner Bartlomiej “Bart” Krysiuk saying that founding member and writer of all the music and lyrics Krzysztof Drabikowski had been sacked from the band. According to Krzysztof Drabikowski, he had been locked out of most Batushka social media, and that Bartlomiej “Bart” Krysiuk was basically trying to steal the band from him. The Drummer (who has only used the name Martin to identify himself) from Batushka has released a statement saying that Krzysztof Drabikowski was indeed the main creative person behind the project, but wouldn’t have done much with it without himself and Bartlomiej “Bart” Krysiuk pushing him to make Batushka a live band. His statement seemed to suggest that the most important part of a band is the PR and Booking agents rather than the person who writes the music.
There have been lots of accusations and shrill denunciations from both sides, statements and counter statements, a court case, and things have ended up being messier than the whole King/Gaahl’s Gorgoroth vs Infernus’s Gorgoroth situation from 2008. Shortly after the schism took place Metal Blade Records announced that they had signed Bartlomiej “Bart” Krysiuk’s version of Batushka, the version that is known on social media as Faketushka (although there have been lots of other versions of this, my personal favourite is Fauxtushka). If you fancy a laugh have a look at any of the comments on Metal Blades facebook posts about the new “Batushka” album, most metal fans are in no doubt which version of Batushka they think is the valid one.
So, it’s now a few months since this debacle started, both Batushka’s have, or are about to release albums, so we can now listen to both of them and make our own minds up over which is real and which is fake.
Батюшка - Панихида [Panihida] (Self Released)
This album is mainly the work of 1 man, the aforementioned Krzysztof Drabikowski. As I understand it, the harsh voice on this album is Krzysztof, I’m not sure who does the chanting, but whoever they are they are just as good, if not better than Bart’s chanted vocals on Litourgiya. The album has the same structure as the first album; 8 songs called Песнь 1, Песнь 2 etc. Песнь 1 starts with very simple, quiet clean guitar. Straight away we are reminded of Litourgiya, that slightly tinny guitar sound is so distinctive, this has the correct ‘Feel’ for Batushka. Heavy guitar and chanting come crashing in, this slowly morphs into a tremolo picked riff that leaves you in no doubt that this is the same mind that wrote the first Batushka album. Number 1 is mainly mid-tempo, with layered guitar and chanting. It’s a simple start, but it is authentic.
Песнь 2 is faster, right from the first note. We are straight into a fast blast-beat, that is packed with energy and in a couple of slower moments has some fantastically effective chanting. At this stage I should make a point about the chanting that is so important to the Batushka sound. The chanting on the first Batushka album wasn’t just samples that were mixed in with the Black Metal for effect, there is a very real reason Batushka sounded special. Most chanting I have heard in metal has been some form of Gregorian chants, which come from a western, Catholic tradition. Batushka used chanting from the Eastern Orthodox Church, which work in a very different way to Gregorian chants (Gregorian chants are more of a musical interlude in a service, rather than the lesson and service itself). There is no strict time signatures in Eastern Orthodox Church Liturgical chanting, however there is an inherent timing based on the number of syllables used in each phrase that is sung. What Krzysztof has done, is to build the riffs around this inherent timing based on the syllabic structure of the chanting. The reason that the chanting feels so bedded in, so part of the music, like the riffs have sprung from the chanting, is because that is literally what has happened. This also shows a deep understanding of liturgical music.
Песнь 3 is a mix of mid-paced blasting and slower, more measured riffing. Again the riffs, chanting and clean guitar feel reminiscent of the first album. Number 3 has some very nice rhythmic devices in the slower parts. Although tracks 1 - 3 are definitely by the same mind that brought us Litourgiya, this is very similar to the first album, it’s Песнь 4 where we start to move forward. Песнь 4 starts with a choir, before blasting into a huge tremolo picked riff, which then has harsh vocals (genuinely think Krzysztof’s harsh vocals are better than “Bart’s”), and the choir at the same time. The result is huge, multilayered and a definite step forward from Litourgiya. It feels like there is a huge amount going on, but it all has the same direction and purpose. The excitement for new Batushka, was the expectation that they might make something like this. Песнь 5 Starts slow and heavy, before going into beautifully fast and flowing blasts and tremolo picked riffs. There is some very effective chanted passages, that are very atmospheric, but this song is mainly about the fantastic blasting. The fast passages also have the layering of chants and harsh vocals, giving them a lot of depth, despite the savagery of the riffing.
Песнь 6 is a more measured track. The there is a discordant feel to some of the slower riffing at the beginning of the song, coupled to some very dense, layered chanting. The track has some faster sections, but the overall feel is mid-paced, but with depth and feeling, this track feels like it has a more of an emotional centre than some of the other tracks. This is another track that feels like Batushka are moving forward from what they made with the first album. The structure is more complex, more layers, this feels like a more mature piece of work than the first album. Песнь 7 is a simpler track. Mid-paced and flowing (the riffs on this album have a sweep, and flow that is just fantastic, almost perfect pacing), with occasional blasts, before a slow and heavy ending. Песнь 8 is a mix of fast and mid-paced riffing. Again the riffs flow beautifully, tempo wise this is a fantastic album, the drumming as stunning, huge amounts of inertia and energy, definitely much better than on the first album. The track comes to an end with a slower section that has some fantastically atmospheric chanting, and brings the album to an end, beautifully.
Панихида (Panihida) is a great album. However, it’s not the huge step forward that most Batushka fans were hoping for. There have definitely been some progress, Песнь 4 and 6 are cases in point, but the other tracks, although incredibly enjoyable, are quite similar to the first album. The progress that Песнь 4 and 6 show probably would have spread to the whole album if Krzysztof Drabikowski had been able to concentrate on the album, and not had to fight to keep control of what, let’s face it, was always HIS project. Making an album with the expectation that was attached to the second Batushka LP was always going to be difficult and daunting; making that album and fighting a court case, with no record company backing or support, whilst having to constantly defend himself from smears and innuendo from the other Batushka camp, what Krzysztof Drabikowski has produced is nothing short of amazing. The fact that he has managed to move the project forward at all deserves respect, producing 2 tracks like Песнь 4 and 6 is staggering. This is clearly the second Batushka album; talent will out, the answer is in the music. 8/10
Batushka: Hospodi (Metal Blade Records)
You’ve got to feel a little sorry for Metal Blade. They thought they had signed the hottest band in Black Metal, then to find out that they had a deal with the lead singer, and not the creative mastermind behind the whole project. I do have some sympathy for them, but not that much due to how they have behaved since discovering they had signed a cuckoo band. So, coming a couple of months after Панихида (Panihida), how does this album, made with record company support and money, stack up when compared to what most fans would consider the ‘Real’ Batushka album.
Not well is the simple answer, but as this is a review we’d better go deeper. Wozglas is a simple introduction to the album. There are bells and chants, percussive instruments and other general things that suggest ‘Batushka’ without really being it. The chanting, although in the right voice (it’s ‘Bart’ who sang on the first album), but the chants sound strange. The pacing and tempo is wrong, it doesn’t sound like liturgic chanting at all. Dziewiatyj Czas is the first track, it feels like simple melodic death metal (something that runs through the whole album), with added chants and bells. The harsh vocals are the same as on Litourgiya, but without the amazing backing the first album had, you notice that ‘Bart’s’ vocals are pretty weak, he just sound like he’s screaming, there's no nuance. The guitar sound is wrong too, not the very distinctive one used on the first album. Another anachronous thing about this song is the use of a chant that sounds like the Hallelujah chorus, which is so wrong.
Wieczernia is another track that sound more like melodic death metal, ok there's quite a lot of chanting on this track, but in many ways the more this band try to sound like Batushka, the more fake they seem. The chanting feels far more Western than it should, there is also a problem that it doesn’t feel part of the music, it’s placed on top of everything else, rather than being the thing all the rest of the music sprang from. There is a bit of blasting at the end to add a little black metal feel, but by this time it’s too late. Powieczerje starts with a recording of soft chanting that sounds like it was recorded in a church. This track is basically melodic death metal with chanting. However, on this track is ok melodic death metal with chanting. The central riff that runs through most of the track is quite good, it flows nicely and is enjoyable; doesn’t sound like Batushka, but it’s an ok song.
Polunosznica starts with what sounds like drunken singing before going into a clean riff where the clean guitar sound is totally wrong, not the oh so distinctive clean guitar sound from Litourgiya. We get a bit of blasting but it’s more like hardcore than black metal, and there are a lot of screaming guitar solo’s that don’t fit at all. It’s an ok song, but doesn’t fit with the other material, or the first Batushka album. Utrenia has a definite ‘Eastern’ feel to it, but it’s the wrong kind of eastern. This sounds Middle Eastern rather Eastern European. Imagine if Melechesh made a half arsed melodic death metal album, this is what it would sound like. Pierwyj Czas is actually a decent piece of blasting black metal, not like Batushka, but not bad. Well done guys, you made one decent black metal track! Tretij Czas starts with chanting, but from the wrong, western tradition. ‘Bart’ keeps on getting the wrong christian tradition. The rest of the song is mid-paced and rather lacklustre. It feel like the song doesn’t go anywhere. Szestoj Czas starts slow, and then never really gets going. It’s ploddy, rather than slow and heavy.
To be honest, calling the final track on this album Liturgiya, is down right rude. The track is slow, has lots of the wrong sort of chanting and never really gets going. The last 3 tracks are just abysmal. They don’t feel finished, half realised songs that never get going. Part of me thinks this is down to lack of talent and effort, but it might also have been rushed out to try to compete with the other Batushka album. The last 3 tracks are so lacklustre and half arsed, but might also not be finished, which really isn’t acceptable. Hospodi is not a good album. If this had turned up in my review pile with another band name on it, I would still be giving this a terrible review. It’s a lacklustre hodge podge of bits and pieces that ‘Bart’ and his mates thought fitted with an Eastern European religious music theme. Most of the album sounds like Melodic Death Metal, that has been slapped together by a bunch of lazy session musicians trying to steal someone else’s unique musical style, and failing miserably. I’ll make my thoughts on how this compares to the other Batushka album in the conclusion, but my opinion of this album is pretty clear; it’s crap, don’t buy it. 4/10
Conclusion
As you might have already guessed, if I had to pick a side I’d be firmly on team Krzysztof Drabikowski. He is clearly the creative force behind the band, every note of Панихида (Panihida) shows this so effectively. The fake Batushka album is almost as compelling an argument. What Bartlomiej “Bart” Krysiuk and “Martin” the drummer have done is Intellectual Property Theft. They have attempted to steal a sound and look that they didn’t create themselves, in an attempt to steal Batushka’s fan base and credibility (something that Hospodi has none of). This is clearly a cynical attempt to profit from someone else’s talent and hard work, probably due to the members of Thieftushka not having any talent of their own. Whether the people behind Craptushka, or Metal Blade like it or not, Shitushka is already over. The album is such a pitiful fake it’s like comparing a child’s drawing of the sun, with a massive ball of exploding hydrogen, ‘Bart’ and the rest of Patheticushta should be ashamed of themselves.
Metal Blade should also be ashamed of themselves. They have acted abysmally, they have cheated, and been accomplices in theft. There is a very real reason the comments on all their posts about Cuntushka are people telling them they don’t approve of Metal Blades deeply dishonest behaviour. Metal Blade, those people leaving nasty comments are not being abusive, they are making an important point, which you should listen to. You are being told, by your CUSTOMERS (you know, the people who put money in your pocket, food on your table and a roof over your head), to change your behaviour. They are not going to go away just because you market Pseudotushka aggressively at them. Do the decent thing and drop Thievingtwatushka, offer Krzysztof Drabikowski a record deal (and an apology), and support the real Batushka. I’d also like to make the point that if I was in a band signed to Metal Blade, I’d be feeling nervous of what the company might be planning to do with my band. This level of dishonesty is a dangerous president to set, If you carry on like this you might find Metal fans will start to boycott your label.
So, there we have it, not really a surprise to anybody who has been following this deeply messy and unpleasant affair. One decent album and band, and a bunch of thieving charlatans who were never capable of producing something as good as Панихида (Panihida). It’s been messy and upsetting for Batushka’s fans, I can only imagine how Krzysztof Drabikowski must feel. I hope, once everything has worked itself out, that Batushka can continue to make great music, I for one am already excited for the 3rd Batushka album. I can’t wait to see what can be achieved when Krzysztof Drabikowski is able to make another Batushka album without the kind of stress that must have accompanied the making of Панихида (Panihida).
Metal Blade should also be ashamed of themselves. They have acted abysmally, they have cheated, and been accomplices in theft. There is a very real reason the comments on all their posts about Cuntushka are people telling them they don’t approve of Metal Blades deeply dishonest behaviour. Metal Blade, those people leaving nasty comments are not being abusive, they are making an important point, which you should listen to. You are being told, by your CUSTOMERS (you know, the people who put money in your pocket, food on your table and a roof over your head), to change your behaviour. They are not going to go away just because you market Pseudotushka aggressively at them. Do the decent thing and drop Thievingtwatushka, offer Krzysztof Drabikowski a record deal (and an apology), and support the real Batushka. I’d also like to make the point that if I was in a band signed to Metal Blade, I’d be feeling nervous of what the company might be planning to do with my band. This level of dishonesty is a dangerous president to set, If you carry on like this you might find Metal fans will start to boycott your label.
So, there we have it, not really a surprise to anybody who has been following this deeply messy and unpleasant affair. One decent album and band, and a bunch of thieving charlatans who were never capable of producing something as good as Панихида (Panihida). It’s been messy and upsetting for Batushka’s fans, I can only imagine how Krzysztof Drabikowski must feel. I hope, once everything has worked itself out, that Batushka can continue to make great music, I for one am already excited for the 3rd Batushka album. I can’t wait to see what can be achieved when Krzysztof Drabikowski is able to make another Batushka album without the kind of stress that must have accompanied the making of Панихида (Panihida).