1. More than thirty years have passed since Christ Agony's career. Would you be able to remember that early Christ Agony era? What led you to want to create a band like Christ Agony? What does the name refer to, and why did you decide to use it?
- Yes, more than three decades have passed, yet those early years of Christ Agony still feel like an open wound - sacred and raw. The band was born out of rebellion, darkness, and the deep need to express something beyond the ordinary human experience. In the early ’90s, Poland was changing, everything was uncertain, but there was also a strange spiritual hunger in the air. I wanted to channel that energy into music that transcends the physical world — something that would reflect both despair and spiritual awakening.
The name Christ Agony came naturally. It symbolizes the eternal conflict between light and darkness, faith and doubt, spirit and flesh. For me, it was never about blasphemy for its own sake — it was a statement of inner struggle, of human suffering seen through a spiritual lens. From the very beginning, Christ Agony has been a reflection of my own path — a spiritual journey through pain, mysticism, and transcendence.
2. Although you are currently the only member of Christ Agony, one of the original members, it's also true that the band has gone through different periods, including a brief period in which its name changed to Union, a period that also coincided with your departure from the group. So, how do you feel Christ Agony's trajectory has been over these years? Perhaps those years when it changed its name to Union were characterized by a lack of coherence with Christ Agony's legacy? Is it now over, has the page been turned, and can we now say that Christ Agony is a completely solid project, that it has definitively left those doubts behind?
- Yes, Christ Agony has gone through many transformations, shadows, and resurrections. The passage of time, the changes of line-ups, and even the period under the name Union were all part of the same spiritual odyssey. I never saw those years as a betrayal of Christ Agony’s legacy - rather, they were a reflection of the chaos and struggle that surrounded both my personal life and the band’s existence. Sometimes you must descend into darkness to be reborn with greater strength.
The Union period was a time of searching, an exile of sorts. But even then, the same spirit, the same essence was alive. When I finally reclaimed the name Christ Agony, it was not a return to the past — it was a rebirth. Today, Christ Agony stands stronger and more unified than ever before, both artistically and spiritually. The doubts, the confusion, the storms — they’re all behind us. What remains is the essence - pure, eternal, and indestructible.
3. About nine years have passed since the release of the previous album, "Legacy" (2016), a fairly long period that I assume hasn't been fully utilized in the creation of the new album. How did you approach the writing and recording process for "Anthems"? Is it difficult, with a legacy like Christ Agony's, to live up to the past? Is it difficult to be consistent with the band's history, to see the present without completely breaking with the past? What instruments did you use in the process?
- Nine years may seem like a long silence, but in truth it was a necessary period of reflection, transformation, and inner rebirth. After Legacy, I didn’t want to simply repeat the past or recreate what had already been done. I needed to feel that spark again - that creative fire that gives meaning to every note and every word.
The writing process for Anthems came naturally, without pressure or deadlines. Some ideas were born years ago, others emerged in moments of pure inspiration - from silence, from solitude, from life itself. I sometimes start from lyrics, sometimes from a single riff or atmosphere. It’s a very organic process - intuitive rather than technical.
Recording took place mainly in Morąg, in cooperation with Michał Grabowski, who also worked on Legacy. He understands my vision perfectly - the balance between the mystical darkness of the past and the organic, modern power I wanted to achieve on this album.
As for instruments, I used my trusted IVAN & RAN guitars, a combination of analog and digital amps, and the entire FabFilter suite and iZotope Ozone for shaping the sound. My approach is always to merge old-school warmth with modern precision. The goal was not to chase trends, but to create something timeless - an echo of the past, yet alive in the present.
4. When you pick up "Anthems," you're immediately struck by that dark, charged atmosphere, with aspects that have more to do with brutality. However, if you give it time, you begin to appreciate other, more subtle nuances, such as the atmosphere or the melody that gradually emerges. Was this one of your main concerns when composing "Anthems," achieving that balance between brutality, atmosphere, and melody? How would you describe the sound of the new album for those who haven't heard it yet? What bands or styles do you think inspired you for "Anthems"?
- Yes, that balance was absolutely intentional. Anthems was born out of a desire to merge two seemingly opposite worlds - the raw, aggressive energy of black and death metal, and the mystical, almost spiritual atmosphere that has always been at the heart of Christ Agony. I wanted brutality to serve the emotion, not dominate it; for darkness to carry beauty within.
The album breathes - it has dynamic shifts, moments of rage, and moments of contemplation. Behind the wall of sound, there are layers of melody, subtle harmonies, and a haunting ambience that reveal themselves over time. I think this is what gives Anthems its depth - it’s not just an attack, it’s an inner journey.
As for inspiration, I’ve never limited myself to one direction. Of course, the spirit of early black and death metal is still there - Bathory, Celtic Frost, Venom, early Morbid Angel, early Samael - but I’ve always drawn strength from classical composers like Tchaikovsky or Stravinsky, and from dark, atmospheric acts like Dead Can Dance, Bauhaus, or Swans. These influences shape the emotional tension and sense of drama within my music.
For those who haven’t heard it yet - Anthems is both a hymn and a storm. It’s heavy, mystical, and passionate. It’s the sound of darkness transformed into something transcendent.
5. Another differentiating factor is the lyrical themes, which often distance themselves from Satanic elements and instead offer other themes such as mysticism, mythology, social issues, or poetic elements. How do these themes fit into a black metal band, and why do you think they're important to address?
- For me, black metal has never been only about Satanism in a literal or dogmatic sense. From the very beginning, Christ Agony was born as a form of spiritual rebellion - not against religion itself, but against all forms of limitation imposed upon the human spirit. I’ve always seen darkness not as evil, but as a mirror of truth, a space where one can explore the hidden parts of existence and the self.
Mysticism, mythology, and poetry are just different languages of that same exploration. They allow me to express emotions and ideas that transcend the material world - transformation, death, rebirth, divine chaos. Through these symbols, I build my own universe, free from religious labels or social norms.
These themes are deeply rooted in black metal’s essence, because at its core, this genre was always about transcendence - breaking barriers, reaching beyond the flesh, touching the void. For me, Anthems continues that path, but through a more mature, introspective lens. It’s not about worshiping darkness - it’s about understanding it.
6. What can you tell us about the record label Deformeathing Production, which is responsible for releasing the new album, while also actively working on reissuing older Christ Agony albums?
- Deformeathing Production is a label that truly understands the essence of extreme music - not only from a business perspective, but on a spiritual and artistic level. Working with them on Anthems has been a great experience because they respect the band’s legacy while fully supporting its present and future vision.
What I value most is their honesty, dedication, and passion. They are not just releasing the album - they are part of its journey. Together, we are also working on reissues of older Christ Agony releases, including the re-release of Demonology with four additional tracks from that same era.
It’s a collaboration built on mutual respect and understanding - something very rare today. Deformeathing is not a corporation, but a label run by people who truly love and live this kind of music.
7. Studio666 and Michał Grabowski appear in the album credits as the places and people who handled the recording and mastering of the album, although you were also actively involved in this process. Why did you choose to work with these people to record the new album? How much of this work was reserved for you?
- Working with Studio666 and Michał Grabowski was a natural decision. Michał understands my musical vision and has the right sensibility for this kind of sound. He knows how to preserve the atmosphere and essence of Christ Agony while giving the album a modern, powerful edge.
This time the recording process was divided between several stages. Some of the guitar parts were recorded in my home studio, where I could work in solitude and focus on the atmosphere. The main rhythm guitars and all vocal parts were recorded later at Studio666 together with Michał.
The drums were performed by two incredible drummers - Daray and August - each bringing their own energy and character to the album. Their contribution added dynamic diversity and power to Anthems.
Michał handled the mix and mastering, but I was deeply involved in every step, shaping the sound and making sure that every detail reflected the spirit of Christ Agony. It was a perfect combination of technical precision and emotional expression - Michał gave the material its final shape, but the soul of the album remains entirely mine.
8. Divine Design was responsible for the design of the album cover, maintaining that more recognizable, darker side of your previous works. Why did you choose to work with Divine Design, and what does this cover represent and how does it relate to the album's content?
- Working with Divine Design was an obvious choice. They perfectly understand the visual identity of Christ Agony - that specific balance between darkness, mysticism, and sacred symbolism that defines my music. I didn’t want just another “black metal” cover; I wanted a visual reflection of Anthems - an image that emanates coldness, spirituality, and transcendence.
The artwork represents the duality of the human and the divine, light and darkness - eternal conflict and harmony at the same time. It is not a simple illustration; it’s a symbolic mirror of the music. Every Christ Agony album has its own sigil, a visual invocation of its essence - and Anthems continues that tradition.
Divine Design managed to capture the core of this album - the sacred and the profane intertwined in one form. The cover stands as an invitation into the world of Anthems - a world where pain becomes transcendence and darkness turns into light.
9. How does it feel to be part of the history of a style like black metal? What is your opinion of the Polish black metal scene today compared to when you started with Christ Agony? What new Polish bands would you recommend today? Do you think Christ Agony has influenced current black metal bands? Would you be proud of that?
- Being part of black metal’s history is both an honor and a burden. Christ Agony was born in a time when everything was raw, pure, and real - there was no internet, no trends, only passion, rebellion, and spirit. We didn’t follow any rules, we created our own language - both musical and spiritual. Looking back, I feel proud that Christ Agony helped to shape the identity of Polish black metal, giving it that unique atmosphere — mystical, spiritual, yet full of darkness and pain.
The Polish scene today is strong and diverse. There are many excellent bands that continue this tradition in their own way - with different sounds, but with the same essence. I respect projects like Mgła, Kriegsmaschine, Blaze of Perdition, or Furia - each of them explores the black metal spirit in a personal, creative way.
If Christ Agony has influenced some of them, I take that as an honor. I never wanted followers - only those who feel the same fire and spiritual connection to music. If our legacy has inspired new artists to search for their own truth in the darkness - yes, I’m proud of that.
10. You've never shied away from presenting Christ Agony's music live, but the truth is that you haven't been too prolific in that area lately. What are your plans for the "Anthems" shows? Who will you be covering in your lineup for the stage? What can Christ Agony fans expect from your live shows?
- Live performances have always been an essential part of Christ Agony - not just as concerts, but as rituals of sound and spirit. Over the years, I’ve never treated them as routine shows; each one has to carry the energy, darkness, and transcendence that define the essence of Christ Agony.
After the release of Anthems, the plan is to bring the new material to the stage - to let people experience this atmosphere face-to-face. We are currently working on a new live lineup, built around musicians who understand the philosophy and aura of Christ Agony. The core remains my vision, but I’m surrounded by people who share the same dedication and passion.
The upcoming shows will be intense, dark, and immersive - a return to the roots, yet with the power and sound of today. Fans can expect a journey through time, from the early classics to the new Anthems hymns, all performed with that ritualistic energy that has always been part of our identity.
11. How did you get started in music: your first shows, your first albums? What happened in your lives that made you want to be musicians?
- My journey into music began very early - back in the late ’80s, when everything was raw, real, and full of hunger for expression. I was born and raised in Morąg, a small town in northern Poland, far from any big cultural center. But perhaps that isolation was my blessing - it gave me time to dream, to create, and to search for my own voice in the darkness.
My first experiences with extreme music came through underground tape trading, old cassettes, and the local metal community. Those were magical times - pure passion, no internet, no rules, only instinct. I started playing guitar and composing in my teens, driven by a need to express something beyond words - a spiritual rebellion, an inner fire that found its form in sound.
The first shows of Christ Agony were chaotic and intense, full of emotion and mystery. We didn’t care about trends or fame - it was about evoking a state of trance, of connection with something beyond the physical world. That same drive still burns within me today. Music, for me, is not just art - it’s a form of existence, a manifestation of the spirit.
12. Which album represents the essence of black metal for you? What recent albums have you purchased?
- It’s always difficult to choose just one album that represents the essence of black metal, because black metal is not only a sound - it’s a state of mind, a spiritual experience. But if I had to name one record that truly shaped my perception, it would probably be “De Mysteriis Dom Sathanas” by Mayhem. That album captures the atmosphere of darkness, mystery, and rebellion in its purest form - it’s not only music, it’s a ritual, an invocation of chaos and transcendence.
Another milestone for me was “Under a Funeral Moon” by Darkthrone, for its raw and primitive energy, and “Storm of the Light’s Bane” by Dissection, which combined aggression with melody and deep emotion - something I’ve always been drawn to in my own compositions.
As for more recent music I still follow what’s happening in the underground. I’ve recently listened to bands like Akhlys, Schammasch and Blut Aus Nord, who continue to expand the boundaries of black metal without losing its spirit. But I also reach beyond the genre - I listen to Dead Can Dance, Swans, or even classical composers like Tchaikovsky and Stravinsky. These artists inspire me just as much, because they carry the same sense of depth and emotion that defines true art.
13. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Christ Agony fans, this is the place. I hope you enjoy the questions.
- Thank you for the space and for this meaningful conversation. After more than three decades, Christ Agony remains not only a band - it’s a spiritual manifestation, a voice born out of darkness, rebellion, and reflection. Anthems is another chapter in this endless journey, a hymn for those who still seek light through shadow.
To all our loyal followers - thank you for walking this path with me through years of silence and resurrection. The fire still burns, and new rituals are yet to come. May our music continue to resonate with your souls, to awaken that inner flame that defies all boundaries and time. See you soon - on stage, in the darkness, where words turn into invocation and sound becomes transcendence.
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