ALBUM REVIEW: ПРОРОК ИЛИЯ (Prophet Ilja) – PATRIARKH
For any who is versed in the world of black metal, the saga surrounding inner conflicts within the ranks of BATUSHKA is as close to any major soap opera drama on our TV screens. After taking the underground world by storm with 2015’s Litourgiya, infighting on ownership rights between founder and lead composer Krzysztof ‘Derph’ Darbikowski and frontman Bartlomiej Krysiuk shattered all mystique surrounding the group and their momentum spiralled into dozens of BATUSHKA memes and subsequent confusion. With Derph retaining the BATUSHKA rites in the conclusion to a long-winded court battle last year, in essence, PATRIARKH intends to be the rebirth of Krysiuk‘s own artistic vision.
Looking to right the wrongs of 2019’s uninspired and ‘fine’ sounding Hospodi, ПРОРОК ИЛИЯ (Prophet Ilja in Latin) essentially looks to be a reset for Krysiuk and his co-conspirators, and the result is a rewarding record that firmly establishes PATRIARKH as a genuine force to be reckoned with.
A concept exploring self-proclaimed prophet Eliasz Klimowicz, who led the Orthodox Grzybowska Sect in the Podlasie region of Poland during the 1930s and 1940s, this story lies at the beating heart of ПРОРОК ИЛИЯ and allows PATRIARK to flex their musical muscles in the best possible way. Album opener, customary intro track ВЕРШАЛИН I (WIERSZALIN I in Latin), sets the scene before ВЕРШАЛИН II rolls back the years to 2015 as a cacophony of soaring choir chants and double bass drumming rolls the album into life. Snarly vocals from Krysiuk cut through the noise like a hot knife through butter, demonstrating in an instant that this is a far superior offering this time round from the collective.
Indeed, where ПРОРОК ИЛИЯ truly shines is when the album dares to shine on its own unique merits. Hospodi spent too much of its runtime trying to imitate the brilliance of Litourgiya but with ПРОРОК ИЛИЯ, PATRIARKH use 2015’s debut as a foundation to explore new and intriguing new musical brushes on the same tapestry. ВЕРШАЛИН III croons with sombre reflection as whispering choirs ebb and flow around weighty riffs that keep you grounded before subsiding to a serene soundscape that enters new territory for PATRIARKH. It’s absolutely stunning.
Elsewhere, ВЕРШАЛИН IV swings and soars through clever usage of folk-laden instrumentation and female vocalisation, adding an epic flourish to the thundering double bass, whereas ВЕРШАЛИН VI doubles down and guides you through a folk woodland through intricately arranged instrumentation from mandolin and hurdy gurdy in tow. The album ends on a triumph as two colossal epics, ВЕРШАЛИН VII and ВЕРШАЛИН VIII, twist and turn through the dense incense and push the swirling nihilism to the lectern, ending the album in the strongest of fashions.
Ten years ago, Litourgiya felt like a defining moment in black metal, as the following decade spawned many a band exploring the Eastern Orthodox mysticism shtick in their music. Rather than rest on their laurels and glories of yesteryear, PATRIARKH have instead gone back to the drawing board to truly stretch their wings in their own direction The result? ПРОРОК ИЛИЯ feels like the first proper introduction to Krysiuk‘s creative mind. Immersive and engaging throughout, ПРОРОК ИЛИЯ is a damn fine way to kickstart your 2025.
Rating: 9/10
ПРОРОК ИЛИЯ is out now via Napalm Records.
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