A crowd gathered in the heat outside El Corazon in Seattle over an hour before doors opened for the return of Poland’s Batushka. Joining them on this 22-date run were Swallow the Sun, bringing their distinctive melodic death doom from Finland, and the incredibly exciting Stormruler from St. Louis, Missouri. The anticipation in the air was intense.

Stormruler, led by its two core members Jason Asberry (vocals and guitar) and drummer Jesse Schobel, is a band at the core of a vibrant contemporary black metal scene in the United States. Since their first brilliant full-length Under the Burning Eclipse, this upstart duo has been on extensive tours across the United States and Europe with the likes of Rotting Christ, Cannibal Corpse, and Dark Funeral. Joined on stage by the masterful Nicholas Burks on lead guitar and Derek Engemann on bass, fans were treated to a blistering 30-minute set focusing almost exclusively on their 2022 release Sacred Rites & Black Magick. This band was an excellent choice as an opener, creating a palpable level of energy and excitement in the crowd. By the end of their set, everyone in the audience was covered in sweat, ready for more.

Highlighting songs from their most recent release Moonflowers, the performance by Swallow the Sun showcased their signature blend of melodic death-doom. While their musicianship was on solid display, and it was clear they had many fans in attendance, a spark seemed missing. Longtime fans appreciated the familiar sounds, but for those in the audience who were in attendance primarily for black or extreme metal, this particular set may have left them wanting. Despite this, Swallow the Sun’s craftsmanship and dedication to the genre could not be denied. They are masters of a melodic form of death doom. As the lights rose after their set concluded, the crowd’s anticipation for the headliner increased notably. Smoke from incense started to fill the room, the low sounds of chanting and bells filling the air.

Any discussion of band Batushka risks devolving into arguments about their complicated history. From the outset, let’s dispense with the snide question some jaded fans of black metal will invariably ask: “Which Batushka?” While many of these so-called fans couldn’t answer the question themselves, much less give a nuanced explanation of Batushka’s tortuous past, I’ll simply state that this was Bartlomiej “Bart” Krysiuk’s version of Batushka: the one that has been touring relentlessly, releasing consistently solid material, and currently writing a new full-length album for release on Napalm Records. The 60-minute set featured three songs from Liturgiya, the 2015 full-length release that drew the world’s attention to the unique melding of black metal and Eastern Orthodox liturgy and imagery. However, the majority of the set focused on the songs created since the release of 2019’s Hospodi, including the series of singles released in 2020 and 2021, all of which have been gathered into a full-length compilation, Maria. It was clear the band wasn’t merely trying to coast on their laurels and name recognition alone.

To attend a Batushka show is to witness a true attempt at a ceremonial presentation of extreme metal. Very few bands make the ritualized aspects of the music so clear without risking the performance devolving into the aping of something more powerful and bygone. While the term “ritual” is used almost everywhere at this point, it has more often become just a ton of smoke, red lights, some unoriginal corpse paint, and, maybe, the stupefyingly derivative drinking of fake blood. Tonight, however, a far more nuanced and all-encompassing performance was

unleashed. Awash in symbolism, the stage was adorned with Eastern Orthodox-style church decor, candle holders, incense carriers, tapestries, and portraits, all against a beautiful backdrop. Attendees were transported, if only fleetingly, from a venue in downtown Seattle to a church-like space somewhere in central Europe.

Batushka’s live lineup consists of main vocals by Bart, who also functions as the head priest of the night’s ceremony, two backing vocalists, dual guitars, and drums. Whereas some bands might employ pre-recorded backing vocals in a live setting, the use of three live vocalists helped elevate the music, and the role of each member in the ceremonial aspects of the show was key. The guitar work was solid, but not flashy, emphasizing mood and precision. The drumming was, simply put, top-notch. The secret weapon of Batushka’s live performances is Pawel Jaroszewicz, a veteran of the extreme metal scene and arguably one of its best drummers. I won’t waste space listing all of the bands he worked with: just do yourself a favor and look him up.

As the band’s powerful rendition of “Pismo VI” from 2021’s Carju Niebiesnyj concluded the set, and we all wandered through incense and smoke back into the night, I was left more excited than ever to see where Batushka’s musical journey goes. They are currently writing new material and a full-length release is on the horizon. Until then, if you get a chance, you should put aside any drama or “trve kvlt” righteousness that might be holding you back from seeing this band on tour. It was a great time!

Batushka

Stormruler

Swallow the Sun