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středa 3. prosince 2025

Interview - INFRAHUMANO - A raw, wild, dark, and cold death metal inquisition!


Interview with death metal band from Spain - INFRAHUMANO.

Recenze/review - INFRAHUMANO - Depths of Suffering (2025):

Ave INFRAHUMANO! Greetings to the Spanish underground. I hope everything is going well for you. It should be, since you released the second great album of your career this year. I must admit that it literally pinned me to the wall. It’s dark, energetic, cutting like a sharp knife. It’s very clear that you’ve done a great job and that you have a lot of talent. How do you perceive the new album in relation to your debut? Where did you want to go and how do you think the recordings are different?

I: Depths of Suffering is the sound of INFRAHUMANO. It represents, obviously, the point we’re at, but it’s made up of the steps we’ve taken over the years. Looking back, we don’t feel we’ve drifted away from those primordial roots that formed the foundations of the band. The sound, the compositions, the technique, and the confidence have grown, of course; however, that old-school Death Metal sound that already seeped into the tracks of our first demo (1000 Eyes – 2017) continues to permeate our current work. The band grows and the sound evolves, but we believe we are on the same path we marked out for ourselves a decade ago. The closing track of the album, Shades of Cruelty, perhaps marks the direction in which the band is heading, but it still maintains our clear INFRAHUMANO sound.


“Depths of Suffering” has all the attributes of good death metal. For me personally, it’s an album I love to return to. How did it come about? How does INFRAHUMANO compose new material?

I: The creation process for this album was long. Some songs were conceived during the pandemic. We could say we don’t have a fixed way of composing. Sometimes one of us brings developed ideas that already form a song on their own and are then enriched by contributions from the others. Other times, someone proposes a riff that someone else develops, and finally there are songs that arise from improvisation and composing together in the rehearsal space.

Who is responsible for the recording, mixing, and mastering? I have to say that the sound is literally killer. It keeps making me turn up the volume on my hi-fi system. You have a sound that is cruel, raw, dark, and animalistic at the same time. How did you work together? In which studio did you record and how did everything go?

I: The two demos and two albums we’ve released so far have been recorded and mixed in different places. Our trust has fallen on different people depending on the demands of each moment. For this record we worked with the expertise of Gon Gb (guitarist of Akoúphenom and Cruzeiro) at Negra Cumbre Studios. The mastering was done by the great Greg Wilkinson (Autopsy). We are very happy with the result. And thank you for your words — we think you describe the album’s sound very well. It’s the effect we were looking for.


An integral part and a kind of bonus for fans today is the CD. You released it on Lavadome Productions and it has a devilish cover. Who is the author? How did you choose the motif and how does it relate to the music on the new album?

I: For the artwork of this new album we worked with our rhythm guitarist Alex Durán (@aliendraws_official), who had already designed the cover for the Across the Void demo. Both the title of the album and the image depicted on the cover capture the essence of the themes within the lyrics: suffering, war, decadence, and the destructive evolution of humankind, portraying on the cover the hell hidden in the basement of the human being.

I’ve been wandering the underworld for over thirty years and I go to Spain for music as a matter of course. I think we have a similar nature and taste when it comes to metal. I really like your bands and follow your scene closely. Maybe I envy you a little, because we only have a few death metal bands that are worth mentioning. How do you explain the fact that death metal is so successful in your country? How do you perceive your scene, fans, and labels?

I: INFRAHUMANO is a band from Vigo, although the two founding members — vocals/bass and guitar — are Chilean and Italian respectively. Here in Spain, Heavy Metal has always led the way, and from there Death Metal and many other subgenres have grown, just like in other countries.

Vigo is a city where people from many places in Spain and from around the world live together, and perhaps within that cultural mix lies the key to so much musical activity. A large percentage of the city’s population plays an instrument, and there are many live music venues.

Metal, in all its forms, has quite a few followers and many people attend concerts. We owe everything to our followers (most of whom are friends of the band). In our opinion, INFRAHUMANO is a respected and well-regarded band in our scene, no more than countless others from this city with whom we often share the stage.

We know many people who started listening to Death Metal (as I did) in the ’90s, and even earlier. Although at first we were few, now there’s a breath of fresh air: new generations embracing this sound, new bands and new fans. And that makes us very happy.

Speaking of labels, if you mean national ones, it’s true that the level of demand is quite high for bands wanting to work with them. It’s completely understandable: besides wanting highly committed people, selling physical formats today is very difficult. Our label, Lavadome Productions, is from the Czech Republic, and we’ve been lucky that they believed in our work from there.


You play old-school–influenced death metal. Today, bands can’t avoid comparisons, but I’d be interested to know how the idea to form INFRAHUMANO came about, who your role models were and are, and where you want to take your band. Are you attracted to big international festivals? Would you be willing to go on tour with a more famous band?

I: INFRAHUMANO was born simply from the intention of making the Death Metal that we like. Our influences are broad and varied, inside and outside of metal, but the echo of the old school is undeniable. The most important influences come from several bands that changed our lives. Among the American ones: Morbid Angel, Possessed, Deicide, Death, among others; among the European ones: Merciless (SE), Dismember, Sinister, and Entombed, to name a few.

Where is the band going? It’s clear that the underground path isn’t easy, and it’s made up of small steps and small venues. Promotion and social media are obviously part of it, but word of mouth still carries a lot of weight, and there are labels still releasing material as they did 30 years ago. We’d like to keep growing because it’s what we love — to continue composing, recording, and bringing our music to a larger audience. We've had the chance on several occasions to play small and large festivals in Spain and Portugal, the biggest ones undoubtedly being Kanekas and SWR Barroselas.

We’d love to continue on this path and, hopefully, join some of the big names in Death Metal.


What exactly are your lyrics about? Where did you get your inspiration for them? In my opinion, death metal should always contain darkness. How did the music influence the lyrics?

I: Our lyrics are also quite diverse: we talk about cruelty, greed, and human evil, about mental illness, sadism, murder… Death is always present, almost as something tangible. There’s also a clear disdain for religions, their symbolism, and especially for those who take advantage of them to live off the most vulnerable.

On the other hand, we are very attracted to darkness, to that romanticism and magnetism surrounding it. The occult and the macabre always draw us in.

In general, inspiration comes from daily reality. It’s enough to look at any news outlet to find atrocious things of all kinds.

We usually compose the music first and, depending on what it conveys to us, we write the lyrics.

When I was listening to your new album, I was reading a book about the Spanish Inquisition. Those must have been crazy times, and it only reinforced my belief that any blind faith enforced by twisted people is always absolutely evil. After all, this is still the case in some countries today. How do Christianity and Islam influence life in Spain? And what is your relationship to the church and faith?

I: Regarding Christianity or Islam in Spain, I suppose they’re still present, though fortunately with less strength. Today, with access to information, it’s inevitable to acquire knowledge — and that distances us from ignorance, which is precisely what religions feed on. If they still exist, it must be due to family tradition... but honestly, we don’t know and don’t want to know.

 

I like to ask musicians what death metal means to them. How would they define it — is it more of a philosophy and lifestyle for them, or “just” relaxation? What does it mean to you? How do you perceive and experience it?

I: For me, Death Metal has been a lifestyle since my “childhood,” so to speak. It’s not quite a religion, because I feel it’s something much more earthly and tangible. As you say, it’s a philosophy of life as well as a musical style.

Finally, a classic but important question. What does INFRAHUMANO have planned for the coming months? Where can we see you in concert? If you want to say something to your fans, labels, promoters, here’s your chance…

I: With INFRAHUMANO we plan to release new material soon: maybe an EP, maybe another LP… we’ll see. We’re working on new things and we have three songs ready for whatever comes next.

For the rest of 2025 we have two shows: one in Portugal, at Butchery at Christmas Time (December 5–6), and another in our city, Vigo, to present our album Depths of Suffering on December 20.

2026 will undoubtedly be a new chapter for the band, with many surprises and many shows.

We want to thank our fans, our families, all the bands we’ve played with, and especially Jan and Lavadome Productions for believing in us. To the promoters, we want to say that we’re here for whatever is needed. And to you, thank you for giving us the space to promote our music and continue playing the Death Metal we love.

Thank you very much for the interview. I wish you every success with your new album and hope that your fan base grows as much as possible. I look forward to seeing you live somewhere and wish you all the best, both musically and personally. I’m going to listen to Depths of Suffering again!

Recenze/review - INFRAHUMANO - Depths of Suffering (2025):

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Rozhovor - INFRAHUMANO - Surová, divoká, temná a chladná death metalová inkvizice!


Rozhovor s death metalovou skupinou ze Španělska - INFRAHUMANO.

Recenze/review - INFRAHUMANO - Depths of Suffering (2025):

Ave INFRAHUMANO! Zdravím do španělského undergroundu. Doufám, že je u vás vše v pořádku. Mělo by, máte na kontě letos druhé dlouhohrající skvělé album své kariéry. Musím se přiznat, že mě doslova přikovalo na zeď. Je temné, energické, řeže ostrou hranou nože. Je hodně slyšet, že jste odvedli skvělou práci a taky velká porce talentu. Jak vnímáš novou desku v souvislosti s vaší prvotinou? Kam jak jste se chtěli posunout a v čem jsou podle tebe nahrávky odlišné?

I: Depths of Suffering je zvuk INFRAHUMANO. Reprezentuje samozřejmě bod, ve kterém se nacházíme, ale je složen z kroků, které jsme v průběhu let podnikli. Když se ohlédneme zpět, nemáme pocit, že bychom se odchýlili od těch prvotních kořenů, které tvořily základy kapely. Zvuk, kompozice, technika a sebevědomí samozřejmě vzrostly; nicméně ten oldschoolový death metalový zvuk, který se prosadil již ve skladbách našeho prvního dema (1000 Eyes – 2017), nadále prostupuje naší současnou tvorbou. Kapela roste a zvuk se vyvíjí, ale věříme, že jsme na stejné cestě, kterou jsme si vytyčili před deseti lety. Závěrečná skladba alba, Shades of Cruelty, možná naznačuje směr, kterým se kapela ubírá, ale stále si zachovává náš jasný zvuk INFRAHUMANO.


„Depths of Suffering“ v sobě obsahuje všechny atributy dobrého death. Pro mě osobně se jedná o desku, ke které se hrozně rád vracím. Jakým způsobem vznikala? Jak skládají nový materiál INFRAHUMANO?

I: Proces tvorby tohoto alba byl dlouhý. Některé písně vznikly během pandemie. Dalo by se říct, že nemáme pevný způsob komponování. Někdy jeden z nás přinese rozvinuté nápady, které už samy o sobě tvoří píseň a pak jsou obohaceny o příspěvky ostatních. Jindy někdo navrhne riff, který někdo jiný rozvine, a nakonec jsou tu písně, které vzniknou z improvizace a společného komponování ve zkušebně.

Kdo je podepsán pod nahráváním, mixem a masteringem? Musím potvrdit, že zvuk doslova zabíjí. Pořád mě to nutí na hi-fi věži přidávat volume. Máte zvuk, který je krutý, surový a zároveň temný a živočišný. Jak se vám spolupracovalo? V jakém studiu jste nahrávali a jak vše probíhalo?

I: Dvě dema a dvě alba, která jsme zatím vydali, jsme nahrávali a mixovali na různých místech. Naše důvěra padla na různé lidi v závislosti na požadavcích daného okamžiku. Na této desce jsme spolupracovali s odborníky Gona Gb (kytarista Akoúphenom a Cruzeiro) v Negra Cumbre Studios. Mastering provedl skvělý Greg Wilkinson (Autopsy). S výsledkem jsme velmi spokojeni. A děkujeme za vaše slova – myslíme, že jste zvuk alba popsali velmi dobře. Je to přesně ten efekt, který jsme hledali.


Nedílnou součástí a jakýmsi bonusem navíc je pro fanoušky dnes CD. Vy jste jej vydali u Lavadome Productions a je opatřeno ďábelským obalem. Kdo je jeho autorem? Jak jste motiv vybírali a jak souvisí s hudbou na novince?

I: Na grafickém návrhu tohoto nového alba jsme spolupracovali s naším rytmickým kytaristou Alexem Duránem (@aliendraws_official), který již navrhl obal pro demo Across the Void. Název alba i obrázek na obalu vystihují podstatu témat v textech - utrpení, válka, dekadence a destruktivní evoluce lidstva, a na obalu zobrazují peklo skryté v suterénu lidské bytosti.

Toulám se podsvětím již přes třicet let a do Španělska si chodím pro muziku vlastně na jistotu. Myslím, že máme podobnou náturu i vkus, co se týká metalu. Mám vaše kapely hodně rád a pečlivě sleduji vaši scénu. Možná vám i trošku závidím, my máme u nás jen pár death metalových smeček, které stojí za to. Čím si to vysvětluješ, že zrovna u vás se death metalu tolik daří? Jak vnímáš vaši scénu, fanoušky, labely?

I: INFRAHUMANO je kapela z Viga, ačkoli dva zakládající členové – zpěv/basa a kytara – jsou Chileané a Italové. Tady ve Španělsku vždy vládl heavy metal a odtud se rozvinul death metal a mnoho dalších subžánrů, stejně jako v jiných zemích.

Vigo je město, kde žijí pohromadě lidé z mnoha míst ve Španělsku i z celého světa, a možná právě v tomto kulturním mixu leží klíč k tolika hudebním aktivitám. Velké procento obyvatel města hraje na nějaký nástroj a je zde mnoho míst s živou hudbou.

Metal ve všech svých podobách má poměrně dost stoupenců a mnoho lidí navštěvuje koncerty. Za vše vděčíme našim stoupencům (většina z nich jsou přátelé kapely). Podle našeho názoru je INFRAHUMANO respektovanou a uznávanou kapelou na naší scéně, stejně jako bezpočet dalších z tohoto města, se kterými často sdílíme pódium.

Známe mnoho lidí, kteří začali poslouchat death metal (stejně jako já) v 90. letech a dokonce i dříve. I když nás zpočátku bylo málo, teď je tu závan čerstvého vzduchu nové generace, která tento zvuk přijímá. Nové kapely a noví fanoušci. A to nás velmi těší.

Když už mluvíme o labelech, pokud máte na mysli ty národní, je pravda, že poptávka po kapelách, které s nimi chtějí spolupracovat, je poměrně vysoká. Je to zcela pochopitelné. Kromě toho, že potřebujeme vysoce angažované lidi, je dnes velmi obtížné prodávat fyzické formáty. Náš label, Lavadome Productions, je z České republiky a měli jsme štěstí, že nám odtamtud věřili v naši práci.


Hrajete death metal ovlivněný starou školou. Dnes se vlastně kapela nemůže vyhnout srovnání, mě by ale zajímalo, jak vlastně vznikl nápad založit INFRAHUMANO, kdo byl a je vaším vzorem a kam vaši kapelu chcete posunout? Lákají vás třeba velké zahraniční festivaly, jste ochotni vyrazit na turné s nějakou slavnější smečkou?

I: INFRAHUMANO se zrodilo jednoduše z úmyslu dělat death metal, který se nám líbí. Naše vlivy jsou široké a rozmanité, uvnitř i vně metalu, ale ozvěna staré školy je nepopiratelná. Nejdůležitější vlivy pocházejí od několika kapel, které změnily naše životy. Mezi americké patří mimo jiné Morbid Angel, Possessed, Deicide, Death; mezi evropské Merciless (SE), Dismember, Sinister a Entombed, abychom jmenovali alespoň některé.

Kam kapela směřuje? Je jasné, že cesta undergroundem není snadná a skládá se z malých krůčků a malých míst. Propagace a sociální média jsou samozřejmě její součástí, ale ústní podání má stále velkou váhu a existují vydavatelství, která stále vydávají materiál stejně jako před 30 lety. Chtěli bychom se dále rozvíjet, protože to je to, co milujeme – pokračovat v komponování, nahrávání a přinášení naší hudby širšímu publiku. Měli jsme několikrát možnost hrát na malých i velkých festivalech ve Španělsku a Portugalsku, z nichž největšími jsou bezpochyby Kanekas a SWR Barroselas.

Rádi bychom v této cestě pokračovali a doufejme, že se připojíme k některým velkým jménům death metalu.


O čem přesně pojednávají texty? Kde jste pro ně brali inspiraci? V death metalu, by dle mého názoru, měla být vždy obsažena temnota? Jak se hudba promítla do textů?

I: Naše texty jsou také docela rozmanité: mluvíme o krutosti, chamtivosti a lidském zlu, o duševních nemocech, sadismu, vraždách… Smrt je vždy přítomna, téměř jako něco hmatatelného. Je zde také zřejmé pohrdání náboženstvími, jejich symbolikou a zejména těmi, kteří je zneužívají, aby žili z těch nejzranitelnějších.

Na druhou stranu nás velmi přitahuje temnota, romantismus a magnetismus, který ji obklopuje. Okultismus a "makabróza" nás vždycky přitahují.

Obecně řečeno, inspirace pochází z každodenní reality. Stačí se podívat na jakékoli zpravodajské zdroje a najít tam otřesné věci všeho druhu.

Obvykle nejdříve skládáme hudbu a podle toho, co nám sděluje, píšeme texty.

Když jsem vaše nové album poslouchal, tak jsem zrovna četl jednu knihu, která pojednávala o španělské inkvizici. Musely to být šílené časy a mě to jen utvrdilo v tom, že jakékoliv víra, která je slepá a je prováděna vyžadována zvrácenými lidmi, je vždy absolutní zlo. Koneckonců, dodnes tomu tak v některých zemích je. Jak ovlivňuje křesťanství a islám život ve Španělsku? A jaký je tvůj vztah k církvi a víře?

I: Pokud jde o křesťanství nebo islám ve Španělsku, předpokládám, že jsou stále přítomny, i když naštěstí s menší silou. Dnes, s přístupem k informacím, je nevyhnutelné získávat znalosti – a to nás vzdaluje od nevědomosti, což je přesně to, čím se náboženství živí. Pokud stále existují, musí to být kvůli rodinné tradici... ale upřímně řečeno, nevíme a ani nechceme vědět.

 

S oblibou se ptám muzikantů na to, co pro ně znamená death metal. Jak by jej definovali, jestli je pro ně spíše filozofií a životním stylem nebo „jen“ relaxem. Co znamená pro tebe? Jak jej vnímáš a prožíváš?

I: Pro mě je death metal životním stylem už od mého „dětství“, abych tak řekl. Není to tak úplně náboženství, protože ho cítím jako něco mnohem pozemštějšího a hmatatelnějšího. Jak říkáš, je to filozofie života i hudební styl.

Na závěr klasická, ale důležitá otázka. Co chystají INFRAHUMANO v nejbližších měsících? Kde vás můžeme vidět na koncertě? Pokud chceš něco vzkázat fanouškům, labelům, promotérům, zde je prostor…

I: S INFRAHUMANO plánujeme brzy vydat nový materiál: možná EP, možná další LP… uvidíme. Pracujeme na nových věcech a máme připravené tři písně na cokoli, co přijde dál.

Po zbytek roku 2025 máme dva koncerty: jeden v Portugalsku, v Butchery at Christmas Time (5.- 6. prosince), a druhý v našem městě Vigo, kde 20. prosince představíme naše album Depths of Suffering.

Rok 2026 bude pro kapelu nepochybně novou kapitolou, s mnoha překvapeními a mnoha koncerty.

Chceme poděkovat našim fanouškům, rodinám, všem kapelám, se kterými jsme hráli, a zejména Janovi a Lavadome Productions za to, že v nás věřili. Promotérům chceme říct, že jsme tu pro cokoli, co je potřeba. A vám děkujeme, že jste nám dali prostor propagovat naši hudbu a pokračovat v hraní death metalu, který milujeme.

Děkuji moc za rozhovor. Přeji nejen nové desce spoustu úspěchů a ať se co nejvíc rozšíří řady vašich fanoušků. Budu se těšit někde naživo a ať se vám daří jak po hudební stránce, tak i v osobní rovině. Jdu si „Depths of Suffering“ zase narvat do hlavy!

Recenze/review - INFRAHUMANO - Depths of Suffering (2025):

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středa 26. listopadu 2025

A few questions - interview with death metal band from Austria - FESSUS.


A few questions - interview with death metal band from Austria - FESSUS.

Ave, can you introduce your band to our readers? – When was it founded and what style of music do you play etc.?

Hi, we are Fessus from Vienna Austria, we play death metal of the `old school´ US and Finnish variety. The band was founded in 2023 and consists of me (Brenton) on guitars and vocals, Gumpf on guitars, Thomas on drums and Jana on bass.

Where and under what conditions were you recording the new album? Who was in charge of sound, production and mastering?

We recorded the album at Fivelakes Studios in Bavaria Germany. Thomas Taube who runs that studio was in charge of both mixing and mastering. Production wise, we didn’t really have a producer in the traditional sense. We had played most of the songs live a number of times before the recording, so it was more about going in there and playing them well. I guess if you want to be precise, both Thomas Taube and I were in charge of the recording, since we were in the studio every day and talked together a lot about drum and guitar sounds.


How many copies were released and which medium was used for this new edition (CD, digital, vinyl, cassette)?

The album will be release on 26th November on Darkness Shall Rise. As far as I know there will be 250 black vinyls, 250 coloured, 500 CDs and I don’t know how many tapes. Enough I´m sure.

Who is the author of the lyrics and how were they created and about what do the lyrics deal with?

I wrote all the lyrics except for half of one song, which Jana started writing and I finished. They are all about death and misery in one way or another. I take more of a poetic or artsy approach to the lyrics rather than being visceral and gore orientated. Some songs also have a ritualist vibe to them, like the song Yizkor. This isn’t done in a black metal sense to create the feeling to triumph, instead its done through a lens of philosophical pessimism

Who created the logo of the band, and who took care of the graphics and the website? What about you and social networks? Do you consider these things important?

Basti from Kringa and Hagzissa did the logo. The logo is important to me and so is the visual aspect as a whole. We don’t have a website apart from the Darkness Shall Rise website. We have social media, but that’s less important to me than the look of the actual physical releases.


Which label did you choose for releasing your album and why this label? Are you satisfied by how your label represents you and takés care about you?

I wrote to DSR because of the labels work with both Ossuary and the classic re-releases they’ve done. Weve been working together since the ´Pilgrims of Morbidity ´ release and it’s been great.

Which bands do you idolise and where do you get your inspiration?

Well, obviously you can hear Autopsy in our sound and that’s no coincidence. This band is mainly influenced by two strains of death metal, US and Finnish. So, US bands like Autopsy, Obituary, Cannibal Corpse and then Finnish bands like Adramelech, Funebre, Demilich. Apart from older bands, a lot of new bands influence me, bands like Mortiferum, Cerebral Rot, Undergang and so on...

Did you send your record to some Labels - which are the labels? How was the response?

As stated, we were signed to Darkness Shall Rise before the recording of the album.


How many gigs have you played? Which type of gigs do you prefer, whether it's (clubs or festivals) and which of your performances would you consider as the best?

I think we´ve played 23 shows all up. I like club shows where the crowd is keen and the sound guy has a genuine interest in getting a good sound out of us. We´ve played all sorts of shows but probably the best are the bigger ones, because the sound on stage is better and we can perform better when we have a good stage sound. The crowd is also important, there’s nothing worse than playing a show to a disinterested crowd, we’ve done that a few times and we try to avoid playing shows when I know, no one there actually likes death metal.

What about your plans for the future? What do you want to achieve with the band?

We will play live a lot next year and maybe do a spilt, but mostly we will play live to promote the new album.

How and where can your fans contact you? Can you provide some contact information?

Per email at fessusofdeath@hotmail.com or via our Instagram account.

Thanx for the interview.





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sobota 15. listopadu 2025

Interview - PANDEMIC OUTBREAK - Morbid, raw, and dark death thrash metal that will make coffin lids crack open!

Interview with death thrash metal band from Poland - PANDEMIC OUTBREAK.

Recenze/review - PANDEMIC OUTBREAK - Torment Beyond Comprehension (2025):

Ave PANDEMIC OUTBREAK! Greetings to Hades' realm! I've had your new album "Torment Beyond Comprehension" at home for review for some time now, and I must say that for me it's a great trip back to when I was young and just getting into death and thrash metal. Excellent work! How did the album come about and where did you want to go with it compared to your previous recordings?

Hi, we’re really happy with your reaction. The album was created in a completely different way than its predecessor. We didn’t write it during joint rehearsals — instead, we recorded demos, listened to them, discussed the arrangements, and talked about the kind of effect we wanted to achieve. Thanks to that, the creative process was very focused, leaving no room for coincidences. When recording the final tracks, we had full control over everything.

This approach came from the physical distance between the band members. The band was formed in Gdańsk, but I moved about 100 km away. Our bassist, Kotwa, lives in the south of Poland, so in his case, the distance is quite significant. Regular rehearsals would require a lot of money, so that’s how we came up with this way of creating music.


The cover art by Dan Goldsworthy already drew me into the morbid game. Great work! How did you choose the theme and how does it relate to the music and lyrics? How did you get together with Dan and why him in particular?

The guy with a coat made of souls, pointing at his victim, can definitely give you chills (haha). The graphic concept and the ideas for the lyrics were all Kotwa’s work. I decided not to get involved in that part — I focused on the music and guitar riffs. When Kotwa showed me his ideas, I just really liked them and understood them right away.

We spent quite a while figuring out who should create the cover art for us. There were many suggestions, but I strongly pushed for Dan Goldsworthy because of the old-school character of his work. You know, I really enjoy discovering an artwork — exploring its details. That’s exactly the kind of cover I wanted us to have. I reached out to him on Instagram, and from there everything went smoothly. We prepared sketches and descriptions, he took it from there and brought his own vision to life. He perfectly captured the atmosphere we wanted to achieve — it’s simply a visual representation of our music.

Sound is what matters most in death/thrash metal. You've managed to achieve a sound that's straight out of the late 80s and early 90s. It sounds analog to me. Am I right? Where did you record the album, and who is credited with mixing and mastering?

We wanted the album to sound clear but still old-school. We didn’t record it using analog equipment — all the tracks were recorded at home. Later, they were sent to Satanic Audio, where, under the supervision of Haldor Grunberg, they were re-amped, then mixed and mastered. Haldor asked us what kind of sound we wanted to achieve on the record, and we pointed to specific works by our idols as references.

We didn’t have a precise vision of the final outcome — we left that part to Haldor. When it came to final decisions, we relied on intuition. The album just had to sound badass — and in our opinion, it absolutely does. Everything forms a cohesive whole, with each element properly highlighted.


Death metal lyrics are often about ugly and evil things. What are they about on "Torment Beyond Comprehension"? Who wrote them and where did you get your inspiration? What influenced you?

Death itself isn’t exactly a pleasant experience — at least from my perspective (haha).
I didn’t want to repeat the typical formula of writing death metal lyrics. Each song was meant to focus on a specific kind of suffering. I took that idea and expressed it through different stories or rituals.

For example, Skinned While Breathing deals with the act of being flayed alive. I portrayed it through the mythological duel between the satyr Marsyas and the god Apollo, where the loser was flayed. I won’t spoil the details — I encourage you to read both the myth and the lyrics. That’s the approach I took with all the songs. I didn’t want each lyric to be just a literal depiction of a particular torture — that would’ve been rather uninteresting.

What connects all the lyrics is that these experiences can only truly be understood by someone who has, in some way, gone through a similar kind of torment. Of course, we’re not talking about something like being burned at the stake — since the victim dies — but someone who has suffered severe burns might understand what that person went through. And that’s where the album title “Torment Beyond Comprehension” comes from.

How is death metal perceived in Poland (Gdańsk)? I go there quite often on vacation. They are resorts, but I don't think I've seen many fans in metal T-shirts. Are you more underground? How does it work there, what about fans, bands?

I think you’re more likely to find fans of extreme music in larger urban areas than outside of them. From my perspective, metal music in my country isn’t really appreciated in the mainstream — it simply doesn’t reach a wide audience. Of course, there are bands that fill up clubs, are well-known in the West, and have a strong fanbase.

We, on the other hand, remain deeply rooted in the underground. We organize our own tours and shows through connections we’ve built over the years. But we still invest a lot into it ourselves. There’s a solid interest in our merch, so those investments pay off. It’s a very comfortable situation, considering that death metal is quite a niche genre.


I think you'll agree that concerts are still the best. Today, you can listen to a band from the other side of the world, but when you go to a club and see them live, party under the stage, buy a CD or a T-shirt, you gain a completely different relationship with them. Do you play often and enjoy it? What about tours and festivals? How do you perceive live performances as a musician?

Of course, I totally agree with that. Listening to your favorite band’s songs live gives you an incredible surge of new energy for music. Those moments create memories that stay with you and get recalled for the rest of your life.

Performing on stage, however, is something completely different — in my case, it’s addictive. We had a period when the band wasn’t playing many shows, and I really missed it. I actually felt quite down because of that. You know, when I see people reacting to the music I’m playing, I feel a deep sense of fulfillment. I can see they’re enjoying it, and it makes me want to play even more. There’s something truly unique about that — something genuine and one of a kind.

Here in the Czech Republic, we are all rather atheists, the church does not have much influence here. At least it is not visible in any way. How is it in your country? I have noticed that there are quite a lot of active believers in Poland. I know that the Catholic Church causes a lot of problems for bands in your country, banning concerts, album covers, etc. Have you encountered anything similar in your country?

In Poland, the institution of the Church has a huge influence on people. Priests often take advantage of their position and power to extract extra money from people and to shape the way they think. In many cases, they’re heavily involved in politics and don’t hesitate to dictate what’s “good” and what’s “evil.”

As for the impact on the music scene — it’s not that significant. Over the years, there have been maybe a few cases of concerts being banned, but that’s a very small number compared to the amount of shows that actually take place and the albums that get released. Everything generally runs without major obstacles.

You know, in my home there was never any issue with listening to metal music. Someone who grew up in a conservative environment and wanted to break out of that mold could probably tell you more about the difficulties they faced — but personally, I don’t know anyone like that.


Death is a frequently cited theme in death/thrash metal. Personally, I am influenced by various philosophies. How do you perceive death? Do you think there is something beyond? Another dimension, hell? At one time, I was very interested in many philosophers, and their ideas are amazing. Who influenced you?

No particular philosophy has influenced me. I believe that I simply want to be happy, pursue my passions, and experience life. I take other people’s opinions into account and listen to them. I try to find compromise when solving problems. I don’t feel the need to prove my worth to anyone, nor do I intend to fight battles over it.

If someone in my surroundings holds me back, ignores my opinion, or tries to manipulate me for their own benefit in a given situation, I simply come to the conclusion that such a relationship doesn’t make sense.

Personally, I see PANDEMIC OUTBREAK as a great old school death/thrash metal band. I'd be interested to know what your goal, direction, or target is, where you want to get to. Is it a big label? A festival? Or maybe a tour with POSSESSED?

At the moment, I don’t have any specific goal. We’ll see what fate brings. In the past, I used to set goals for myself, but it only led to frustration. Because of that, playing music stopped being enjoyable and I lost motivation.

Now, I just want our music to be appreciated by our listeners — that’s all. If we ever get an offer to go on tour with Possessed, I’ll definitely be thrilled and do everything I can to make it happen. It might sound like a simple approach, but it allows me to truly enjoy what I have right now.

 

How did you get into death/thrash metal? When did you first pick up an instrument and start playing? Who was your role model? And what was it like growing up in metal-loving Poland? What about your first concert?

It was a process that took years. When I was a teenager, I was heavily inspired by mainstream thrash metal bands — that was the kind of music I wanted to play. Before Pandemic Outbreak, I played in other bands with a strong focus on thrash metal. Unfortunately, they didn’t stand the test of time, so I decided to start my own band and take on vocal duties myself. The result of that period was the EP “Rise of the Damned.”

Around 2016–2017, I began to broaden my musical horizons and started exploring death metal as a heavier and more extreme genre. During rehearsals, we began experimenting more with our music and lowering our guitar tuning. As a result, the EP “Collecting the Trophies” was born — a blend of thrash and death metal. Since then, we’ve been consistently pursuing that direction in our musical evolution.

 

What does PANDEMIC OUTBREAK have planned for the coming months? What can fans look forward to? If you have something on your mind and would like to say it to your fans, promoters, or labels, here's your chance...

In the near future, we’ll be doing a weekend mini-tour to promote our new release. We’ll play three shows in Wrocław, Elbląg, and our hometown, Gdańsk.

Starting next year, the “Przeklęty Trybularz Tour” kicks off — seven shows alongside Buddah and Egzul. In preparation for these events, we’re restocking our merch and ordering some new items. After these concerts, we’ll take a short break from touring and then hit the road again after the summer.

Thank you very much for the interview. I appreciate it. I'm going to listen to "Torment Beyond Comprehension" again. It's excellent! Thank you very much for your new album. I wish you the best sales and all the best in your personal life!

Thank you very much for the questions, and we wish you all the best. Check out our Facebook and Instagram, where you’ll find the latest updates about the band. Greetings!

Recenze/review - PANDEMIC OUTBREAK - Torment Beyond Comprehension (2025):





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Rozhovor - PANDEMIC OUTBREAK - Morbidní, surový a temný death thrash metal, u kterého praskají víka od rakví!

Rozhovor s death thrash metalovou skupinou z Polska - PANDEMIC OUTBREAK.

Recenze/review - PANDEMIC OUTBREAK - Torment Beyond Comprehension (2025):

Ave PANDEMIC OUTBREAK! Zdravím do Hádovy říše! Mám doma na recenzi již nějaký čas vaše nové album „Torment Beyond Comprehension“ a musím říct, že je pro mě parádním výletem do doby, kdy jsem byl mladý a s death a thrash metalem jsem začínal. Vynikající zásek! Jak deska vznikala a kam jste se chtěli oproti minulým nahrávkám posunout?

Ahoj, jsme opravdu rádi za vaši reakci. Album vznikalo úplně jiným způsobem než jeho předchůdce. Nenapsali jsme ho během společných zkoušek – místo toho jsme nahráli dema, poslechli si je, prodiskutovali aranžmá a promluvili si o tom, jakého efektu chceme dosáhnout. Díky tomu byl tvůrčí proces velmi soustředěný a nenechával prostor pro náhody. Při nahrávání finálních skladeb jsme měli vše plně pod kontrolou.

Tento přístup vycházel z fyzické vzdálenosti mezi členy kapely. Kapela vznikla v Gdaňsku, ale já jsem se přestěhoval asi 100 km daleko. Náš basák Kotwa žije na jihu Polska, takže v jeho případě je vzdálenost docela značná. Pravidelné zkoušky by vyžadovaly spoustu peněz, a tak jsme přešli na tento způsob tvorby hudby.


Do morbidní hry mě uvedl už obal od Dan Goldsworthy. Parádní práce! Jak jste motiv vybírali a jaký má vztah k hudbě a textům? Jak jste se dali s Danem dohromady a proč právě on?

Ten chlapík v kabátě z duší, který ukazuje na svou oběť, vám rozhodně nahání husí kůži (haha). Grafický koncept a nápady pro texty byly výhradně dílem Kotwy. Rozhodl jsem se do této části nezasahovat – soustředil jsem se na hudbu a kytarové riffy. Když mi Kotwa ukázal své nápady, hned se mi zalíbily a okamžitě jsem jim porozuměl.

Dlouho jsme přemýšleli, kdo by pro nás měl vytvořit obal alba. Bylo mnoho návrhů, ale já jsem silně prosazoval Dana Goldsworthyho kvůli oldschoolovému charakteru jeho práce. Víš, opravdu mě baví objevovat umělecká díla – zkoumat jejich detaily. Přesně takový obal jsem pro nás chtěl. Kontaktoval jsem ho na Instagramu a od té chvíle šlo všechno hladce. Připravili jsme náčrtky a popisy, on se toho ujal a zrealizoval svou vlastní vizi. Dokonale vystihl atmosféru, kterou jsme chtěli dosáhnout – je to prostě vizuální ztvárnění naší hudby.

Zvuk, o ten jde v death/thrash metalu především. Vám se podařilo docílit soundu, který je jak vystřižený z přelomu osmdesátých a devadesátých let minulého století? Působí na mě jako analog. Mám pravdu? Kde jste album nahrávali, kdo je podepsán pod mixem a masteringem?

Chtěli jsme, aby album znělo čistě, ale zároveň oldschoolově. Nenahrávali jsme ho na analogové vybavení – všechny skladby jsme nahráli doma. Později jsme je poslali do Satanic Audio, kde je pod dohledem Haldora Grunberga znovu zesílili, namixovali a zmasterovali. Haldor se nás zeptal, jaký zvuk chceme na desce dosáhnout, a my jsme mu jako reference ukázali konkrétní alba našich idolů.

Neměli jsme přesnou představu o konečném výsledku – tu část jsme nechali na Haldorovi. Pokud šlo o konečná rozhodnutí, spoléhali jsme se na intuici. Album prostě muselo znít drsně – a podle nás to naprosto splňuje. Vše tvoří soudržný celek, kde je každý prvek správně zdůrazněn.


Death metalové texty bývají často o ošklivých a zlých věcech. O čem jsou na „Torment Beyond Comprehension“? Kdo je jejich autorem a kde jste pro ně brali inspiraci? Co vás ovlivnilo?

Smrt sama o sobě není zrovna příjemný zážitek – alespoň z mého pohledu (haha).
Nechtěl jsem opakovat typický vzorec psaní death metalových textů. Každá skladba se měla zaměřit na konkrétní druh utrpení. Vzal jsem tento nápad a vyjádřil ho prostřednictvím různých příběhů nebo rituálů.

Například skladba Skinned While Breathing pojednává o tom, jak být zaživa stažen z kůže. Ztvárnil jsem to prostřednictvím mytologického souboje mezi satyrem Marsyasem a bohem Apollónem, kde poražený byl stažen z kůže. Nebudu prozrazovat podrobnosti – doporučuji vám přečíst si jak mýtus, tak texty. Takový přístup jsem zvolil u všech písní. Nechtěl jsem, aby každý text byl jen doslovným popisem konkrétního mučení – to by bylo spíše nezajímavé.

Všechny texty spojuje to, že tyto zážitky může skutečně pochopit jen někdo, kdo nějakým způsobem prošel podobným utrpením. Samozřejmě nemluvíme o něčem jako upálení na hranici – protože oběť zemře –, ale někdo, kdo utrpěl těžké popáleniny, může pochopit, čím ta osoba prošla. A odtud pochází název alba „Torment Beyond Comprehension“ (Utrpení nad chápání).

Jak je vnímán death metal u vás v Polsku (Gdaňsku)? Já k vám jezdím poměrně často na dovolenou. Jsou to sice letoviska, ale nepřijde mi, že bych potkával příliš fanoušků v metalových tričkách. Jste spíše underground? Jak to u vás funguje, co fanoušci, kapely?

Myslím, že fanoušky extrémní hudby najdete spíše ve větších městských oblastech než mimo ně. Z mého pohledu není metalová hudba v mé zemi v mainstreamu příliš oceňována – prostě nedosahuje širokého publika. Samozřejmě existují kapely, které vyprodávají kluby, jsou známé na západě a mají silnou fanouškovskou základnu.

My naopak zůstáváme hluboce zakořeněni v undergroundu. Organizujeme vlastní turné a koncerty díky kontaktům, které jsme si za ta léta vybudovali. Ale stále do toho hodně investujeme. O náš merch je velký zájem, takže se ty investice vyplatí. Je to velmi příjemná situace, vzhledem k tomu, že death metal je poměrně okrajový žánr.


Asi mi dáš za pravdu, že nejlepší jsou stejně koncerty. Dnes si může člověk poslechnout kapelu z druhého konce světa, ale když jde do klubu a vidí ji naživo, zapaří pod pódiem, koupí si CD, triko, tak si získá úplně jiný vztah. Hrajete často a rádi? Co nějaké turné, festivaly? Jak vnímáš živé hraní ty, jako muzikant?

Samozřejmě, že s tím naprosto souhlasím. Poslouchat živě písničky své oblíbené kapely vám dodá neuvěřitelnou dávku nové energie pro hudbu. Tyto okamžiky vytvářejí vzpomínky, které vám zůstanou a budete si je připomínat po zbytek života.

Vystupování na pódiu je však něco úplně jiného – v mém případě je to návykové. Měli jsme období, kdy kapela nehrála moc koncertů, a mně to opravdu chybělo. Vlastně jsem se kvůli tomu cítil docela sklesle. Víte, když vidím, jak lidé reagují na hudbu, kterou hraju, cítím hluboké uspokojení. Vidím, že si to užívají, a to mě motivuje hrát ještě víc. Je na tom něco opravdu jedinečného – něco opravdového.

U nás v Čechách jsme všichni spíše ateisté, církev u nás nemá příliš velký vliv. Alespoň to není nijak vidět. Jak je tomu u vás? Všiml jsem si, že v Polsku je poměrně hodně aktivních věřících. Vím, že u vás dělá kapelám katolická církev dost problémů, zakazují se koncerty, obaly apod. Setkali jste se s něčím takovým podobným i u vás?

V Polsku má církev obrovský vliv na lidi. Kněží často zneužívají své postavení a moc, aby z lidí vytáhli peníze navíc a ovlivňovali jejich myšlení. V mnoha případech se intenzivně angažují v politice a neváhají diktovat, co je „dobré“ a co „zlé“.

Pokud jde o dopad na hudební scénu, ten není tak významný. V průběhu let došlo možná k několika případům zákazu koncertů, ale v porovnání s počtem koncertů, které se skutečně konají, a alb, která vycházejí, je to velmi malé číslo. Vše obecně probíhá bez větších překážek.

Víte, u nás doma nikdy nebyl žádný problém s poslechem metalové hudby. Někdo, kdo vyrostl v konzervativním prostředí a chtěl se z něj vymanit, by vám pravděpodobně mohl povědět více o obtížích, kterým čelil – ale osobně nikoho takového neznám.


Smrt je v death/thrash metalu často citované téma. Osobně jsem ovlivněn různými filozofiemi. Jak vnímáš smrt ty? Myslíš, že existuje něco dál? Jiná dimenze, peklo? Jednu dobu jsem se hodně zajímal o mnohé filozofy a jsou to úžasné myšlenky. Kdo ovlivnil tebe?

Žádná konkrétní filozofie mě neovlivnila. Věřím, že prostě chci být šťastný, věnovat se svým vášním a prožívat život. Beru v úvahu názory ostatních lidí a naslouchám jim. Při řešení problémů se snažím najít kompromis. Necítím potřebu nikomu dokazovat svou hodnotu, ani nemám v úmyslu o ni bojovat.

Pokud mě někdo z mého okolí brzdí, ignoruje můj názor nebo se mě snaží v dané situaci manipulovat ve svůj prospěch, jednoduše dojdu k závěru, že takový vztah nemá smysl.

Osobně vnímám PANDEMIC OUTBREAK jako skvělou old school death/thrash metalovou kapelu. Zajímalo by mě, jaký máte cíl, směr, metu, kam se chcete dostat. Je to nějaký velký label? Festival? Nebo třeba turné s POSSESSED?

V tuto chvíli nemáme žádný konkrétní cíl. Uvidíme, co nám přinese osud. V minulosti jsem si stanovoval cíle, ale vedlo to jen k frustraci. Kvůli tomu mě hraní hudby přestalo bavit a ztratil jsem motivaci.

Teď chci jen, aby posluchači ocenili naši hudbu – to je vše. Pokud někdy dostaneme nabídku jet na turné s Possessed, budu rozhodně nadšený a udělám vše pro to, aby se to podařilo. Může to znít jako jednoduchý přístup, ale díky němu si mohu opravdu užít to, co mám právě teď.

 

Jak si se vlastně k death/thrash metalu dostal? Kdy si vzal poprvé do rukou nástroj a začal hrát? Kdo byl tvým vzorem? A jaké to bylo vyrůstat v metalovém Polsku? Co první koncert?

Byl to proces, který trval roky. Když jsem byl teenager, silně mě inspirovaly mainstreamové thrash metalové kapely – to byl druh hudby, který jsem chtěl hrát. Před vznikem Pandemic Outbreak jsem hrál v jiných kapelách, které se silně zaměřovaly na thrash metal. Bohužel nevydržely zkoušku času, tak jsem se rozhodl založit vlastní kapelu a sám se ujmout vokálů. Výsledkem tohoto období bylo EP „Rise of the Damned“.

Kolem let 2016–2017 jsem začal rozšiřovat své hudební obzory a začal jsem objevovat death metal jako těžší a extrémnější žánr. Během zkoušek jsme začali více experimentovat s naší hudbou a snižovat ladění kytar. Výsledkem bylo EP „Collecting the Trophies“ – směs thrash a death metalu. Od té doby se v naší hudební evoluci důsledně držíme tohoto směru.

 

Co chystají PANDEMIC OUTBREAK v nejbližších měsících? Na co se mohou fanoušci těšit? Pokud máš něco na srdci a chtěl bys to vzkázat fanouškům, promotérům, labelům, tak zde je prostor…

V blízké budoucnosti se chystáme na víkendové mini turné, abychom propagovali naše nové album. Odehrajeme tři koncerty ve Vratislavi, Elblągu a v našem rodném městě Gdaňsku.

Od příštího roku startuje turné „Przeklęty Trybularz Tour“ – sedm koncertů po boku Buddah a Egzul. V rámci příprav na tyto akce doplňujeme zásoby našeho merchandisingu a objednáváme nové položky. Po těchto koncertech si dáme krátkou pauzu od turné a po létě se znovu vydáme na cestu.

Děkuji moc za rozhovor. Vážím si toho. Jdu si „Torment Beyond Comprehension“ znovu pustit. Je totiž vynikající! Děkuji moc i za vaši novou desku. Přeji vám co nejlepší prodeje a ať se vám daří i v soukromí!

Moc děkujeme za otázky a přejeme vám vše nejlepší. Podívejte se na náš Facebook a Instagram, kde najdete nejnovější informace o kapele. Zdravíme vás!

Recenze/review - PANDEMIC OUTBREAK - Torment Beyond Comprehension (2025):





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sobota 8. listopadu 2025

Interview - CHRIST AGONY - A cold, melodic black metal album that will freeze your blood in your veins! A mysterious, mysterious, magical, ancient ceremony!

Interview with legendary black metal band from Poland - CHRIST AGONY.

Answered Cezar, thank you!

Recenze/review - CHRIST AGONY - Anthems (2025):

1. Ave CHRIST AGONY! Ave Caesar! Greetings to the Polish underworld. Just recently, a friend and I were reminiscing about which foreign bands we saw first, and I told everyone about my trip to Wroclaw in the nineties. I was young, strong, full of life. I remember your performance literally blowing me away. You've been on the scene for 35 years, and when I listen to your new album, Anthems, I still feel enormous power and enthusiasm in your music. Do you have a recipe for that? Where do you get so many ideas?

- Ave! Thank you for your words and for remembering those times - the ‘90s were truly the age of raw passion and spiritual rebellion. For me, the fire has never really faded. Christ Agony has always been more than just a band - it’s a state of mind, a personal ritual that evolves with each era of my life.

The inspiration comes from within - from darkness, solitude, and reflection, but also from the world’s constant duality, where light and shadow coexist eternally. Every chapter of my life brings new emotions, new struggles, and new revelations — and all of that becomes music. That’s probably why, even after 35 years, the energy is still there. Christ Agony was born from inner truth, and as long as I live, this flame won’t go out.


2. Yes, extreme music like black and death metal has a darkness and energy that other styles don't have. Maybe that's why I'm still loyal to it. I also hear and feel coldness in the new album "Anthems." How did the album come about and why did it take nine long years? Were you waiting for inspiration?

- Yes, you are right - darkness and energy are the essence of this form of expression. “Anthems” was born from silence, from a long period of reflection and inner transformation. Those nine years were not just a pause — they were a necessary journey through both shadow and light, a time to rediscover the true voice of Christ Agony.

I never wanted to create music out of routine or obligation. I was waiting for the moment when inspiration would return naturally — when I could again feel that sacred connection between sound, word, and emotion. During that time, I was also working on other projects — FaustuS, Khorumi, and SOLARKVLT - each of them a different facet of my artistic and spiritual path. But when the right moment finally came, I knew it was time to summon Christ Agony once more. “Anthems” is the result of that inner awakening.

3. How do you actually create new songs? I'm interested in the process itself. When does it "come"? For example, when I write, I usually get ideas somewhere outside, in nature, and I make a note on my phone, which I then gradually develop. But as I get older, I have to be more and more careful not to repeat myself. How do you do it? Can you give us a peek into your kitchen?

- For me, the process of creation has always been something mystical - something that cannot be planned or forced. Music comes when the spirit calls. Sometimes it happens in the middle of the night, sometimes during a walk in the forest, sometimes in complete solitude. I usually start with an atmosphere - a vision, a feeling, a certain aura that I want to translate into sound. The riffs, harmonies, and structures come later, almost as if they were dictated by some invisible hand.

I record every idea immediately - a melody, a rhythm, even a whisper. Then I build around it like a sculptor shaping stone. I don’t think about trends, production, or expectations. I let intuition guide me. Each song must have its own soul, its own ritual energy.

Of course, with time, it becomes harder to avoid repetition, but the key is honesty. If you create from the heart, without calculation, the music will always find a new form - because you yourself are changing. Christ Agony has evolved with me. Every album reflects a different chapter of my spiritual journey, and “Anthems” is its most mature incarnation.


4. We both grew up under socialism. You're only a few years older than me, Cezar. How do you remember your beginnings? We had a terrible problem getting hold of extreme music. Incidentally, I found most of my cassettes at black markets just across the border in Poland. Which band first grabbed you and pulled you to the dark side? If I'm not mistaken, you're from the small town of Morąg. Please reminisce for us!

- Yes, I come from Morąg - a small, grey town in northern Poland, surrounded by forests and lakes. In the 1980s it was still the time of communism, a world closed and silent, where everything extreme or unconventional was forbidden or simply inaccessible. But maybe that’s what gave birth to the hunger, the fire. We were searching for something beyond the grey reality - something that could express rebellion, darkness, and freedom at the same time.

Like many at that time, I started with classic heavy metal - Black Sabbath, Iron Maiden, Venom. But when I first heard Bathory, Hellhammer, and Celtic Frost - everything changed. That was the revelation. The sound, the atmosphere, the raw spiritual energy - it felt like a calling. It wasn’t just music anymore. It was a path.

In Poland, access to extreme music was like smuggling the sacred fire. We copied tapes, traded them at markets or by mail. Every new recording was like discovering a secret scripture. That underground energy shaped me forever - it taught me patience, dedication, and the value of passion over comfort.

Those early years in Morąg were dark but magical. That’s where Christ Agony was born - from isolation, from hunger for truth and transcendence. From the need to create something real in a false world.


5. In the 1990s, you and CHRIST AGONY were part of a strong wave of Polish bands that influenced me a lot musically. Looking back, I was always fascinated by a certain darkness in the Poles, a kind of hidden anger that your bands had. And also a typical style. How do you explain that? When you hear "Polish black and death metal scene," what comes to mind?

- That’s a very good observation - there really is something unique in the Polish black and death metal sound, and I believe it comes from our collective past and temperament. Poland in the 1990s was a country waking up from decades of oppression, chaos, and spiritual hunger. There was frustration, but also a deep need to express something real, to scream out the truth that had been silenced for too long.

For us, darkness was never just an image or a pose - it was a reflection of our inner landscape. Life was harsh, religion was suffocating, and the system had crushed individuality for generations. So when that first black metal wave came, it wasn’t imitation - it was liberation. It was pure, spiritual rebellion.

Bands like Christ Agony, Behemoth, Graveland, or Pandemonium - we all came from that same soil, carrying the same scars. Each in our own way, we transformed anger, despair, and mysticism into art. That’s why Polish extreme metal has this characteristic depth - it’s emotional, ritualistic, and very personal. It’s not about satanic clichés; it’s about transcendence through darkness.

When I hear the phrase “Polish black and death metal scene,” I think of passion, authenticity, and fire - a scene born from struggle, but one that has always sought spiritual light through the storm.


6. When did you first pick up a musical instrument? Do you have any classical training? What was the first concert you ever went to (if it was TURBO, I'll win a bet with my friend for a beer! :))? And do you remember the first time you stood on stage as a musician?

- your friend might owe you that beer, because yes, TURBO was one of the first bands that really made an impression on me in the early days! That was a different time - pure passion, no technology, just raw sound and emotion.

I first picked up the guitar when I was about 13 or 14. It wasn’t anything serious at first - just fascination, curiosity, and the urge to express what was boiling inside me. I didn’t have any classical training; everything I learned came naturally, by ear and by instinct. I was obsessed with sound, with the atmosphere it could create.

The first time I stood on stage was pure chaos and adrenaline - a small local event, probably in the late 1980s. The sound was terrible, the gear primitive, but the feeling… unforgettable. That moment of connection — when chaos, sweat, and noise turn into something sacred - that’s what I’ve been chasing ever since.

So yes, my roots are simple - no conservatory, no academic background - just pure instinct, fire, and devotion to sound. And maybe that’s what kept the flame alive all these years.

 

7. But let's move on to the new album, "Anthems"... I've already written about the coldness and darkness, but it also has a great sound. Michał Grabowski is credited as the producer. Did you have any say in how everything should sound? Who had the final say? And how did you find working with Michał?

- Yes, Michał Grabowski once again played a key role in shaping the sound of Anthems, just as he did with Legacy. Most of the recordings took place in the Morąg studio - a place close to my roots, where the atmosphere itself seems to breathe with darkness and nostalgia.

Our cooperation with Michał is based on deep understanding and trust. I always come to the studio with a clear vision - I know exactly what Christ Agony should sound like, the balance between atmosphere and aggression, between mysticism and rawness. Michał understands this perfectly and knows how to capture it technically without losing the spiritual core of the music.

Of course, I had the final say on every mix, every reverb, every texture. The sound of Anthems had to carry that essence - cold yet alive, massive yet intimate. Michał helped translate that vision into sound reality. He’s not just a producer; he’s more like a companion in ritual - someone who helps transform emotion into resonance.

8. You compose and write everything yourself. You do have a few guests, such as drummers, but otherwise the new album is entirely your work. Isn't that a bit of a problem? You know how it is, you work on something for so long that you lose perspective. Do you have someone who will tell you, "Cezar, no, that's too much, this needs to be faster, no, this is too long"? Or are you able to maintain perspective?

- Yes, Anthems is entirely my creation - both musically and lyrically. It’s true that when you work alone, the biggest challenge is not technical but emotional: to keep a clear perspective after spending countless hours inside your own world. But over the years, I’ve learned to trust my inner compass. I know when something truly carries the essence of Christ Agony and when it drifts away from it.

Of course, I’m not completely isolated - the musicians I collaborate with, bring their own energy and suggestions. Still, I make the final decisions. For me, Christ Agony has always been a deeply personal expression, not a democratic process. It’s more like a ritual, a reflection of my inner visions and experiences.

Sometimes I let a piece rest for weeks or months before returning to it with a fresh mind - that’s how I keep perspective. I don’t rush. Every song must mature like wine, reach that moment when it truly breathes darkness and spirit. Only then do I know it’s finished.

 

9. You've been on the scene for many years. A lot has changed. Recordings have gone digital, we have the internet, there are new technologies in the studio. Computers control everything today. Do you try to keep up, do you follow the news? How have these changes affected you as a musician?

- Indeed, the world has changed dramatically - not only musically, but spiritually as well. Today, everything is digital, compressed, and often stripped of emotion. Technology can be both a blessing and a curse. On one hand, it offers comfort, precision, and speed. On the other, it can sterilize art if you let machines take control over the human element - the soul.

I try to keep a healthy balance. I follow the evolution of technology and use it when it serves the atmosphere and spirit of the music, but I never allow it to dominate the creative process. My recordings are a fusion of the old and the new - analog heart with a digital mind. I still believe that the essence of true sound lies in imperfection, in the organic pulse that comes from human touch, not from quantized grids or samples.

So yes, I move with the times, but my foundation remains timeless. For me, Christ Agony has always been about spirit, not trends - about expressing the eternal struggle between light and darkness through sound, not following the mechanical perfection of the digital age.

10. But it's not just about new technologies, it's about society as a whole. We survived the collapse of the Soviet Union, COVID, people approach music completely differently today. Sometimes I feel a bit like a fossil. But you still manage to record and release great albums. Where do you get your inspiration? I mean for the lyrics? What influences you the most? Do you draw from books? Movies? The world around you?

- Inspiration has always come to me from the depths - from within, not from the surface of the world. I don’t really look for it in pop culture, films, or fleeting trends. What truly fuels me are emotions, experiences, and the spiritual dimension of existence. The world may change - politics, systems, even faiths may collapse - but the essence of human darkness and longing remains the same. That’s the fire I draw from.

My lyrics are a reflection of inner journeys, of confronting the sacred and the profane within oneself. I’ve always been fascinated by the duality of being - light and shadow, spirit and flesh, eternity and decay. These contrasts are the foundation of both my music and my life.

I do read a lot - mostly philosophy, poetry, and esoteric texts. Books by Nietzsche, Cioran, or ancient mystical writings often open new paths of thought. But even more than books, it’s solitude and silence that bring inspiration. When the world becomes too loud, I retreat inward - and that’s where Christ Agony is born, again and again.

 

11. I last saw CHRIST AGONY in Prague in 2015. That was ten years ago. Time flies. I really enjoy reminiscing about your live performances. Do you still play live? Is it difficult to find musicians? How about a tour, are you tempted? How do you perceive concerts in general, what do they mean to you?

- Yes, Christ Agony is still performing live - though not as often as in the past. After the long silence and the release of Anthems, the time has come to return to the stage and reconnect with the essence of what this music truly is: ritual, emotion, and energy. The first concerts are already confirmed, including several in Poland before the end of the year - the first one taking place on October 25th in Łódź.

Finding musicians is always a challenge, especially when the music demands not just technical skill, but also spirit - an understanding of the atmosphere and philosophy behind Christ Agony. Fortunately, I’ve found people who share that vision. On drums now is Dmitry Kim, and I feel that this current lineup has a very strong chemistry, both musically and emotionally.

Concerts have always meant something more to me than just playing songs. They are rituals - moments of transcendence, where the border between performer and audience disappears. Every show is an offering, a summoning of energy that connects us all, even if only for an hour. That’s the essence of Christ Agony on stage — communion through darkness and sound.


12. The Polish scene is still strong when it comes to bands. I get a lot of new music from you guys to review. You have great labels. But how do you perceive it as a veteran? In our country, fewer and fewer people are going to concerts. Sometimes it seems to me that everyone just sits at home on the internet... How is it with you?

- Polish black metal has remained remarkably strong and vibrant over the years. As a veteran, I see a scene that is constantly evolving, with younger bands bringing fresh energy while respecting the essence of what black metal is. It is true that the way people engage with music has changed - streaming, social media, and digital content dominate, and fewer attend concerts than in the past.

However, for those who truly connect with the music, the live experience is irreplaceable. Concerts are still rituals, moments of communion and intensity that cannot be replicated online. I see this even in Poland — while attendance may be smaller in numbers, the energy and dedication of the audience at shows is profound. For me, this makes every performance even more meaningful.

 

13. This is my favorite question. What does black metal mean to you? How do you perceive it? Is it your hobby, your lifestyle? Feel free to engage in philosophical reflections.

- For me, black metal has never been just music - it is a spiritual path. A manifestation of inner rebellion, reflection, and transcendence. It is the voice of the soul that refuses to conform, that seeks truth in darkness and wisdom in solitude.

From the very beginning, black metal was for me a form of sacred art - a ritual, not entertainment. It carries within it both destruction and creation, despair and illumination. Over the years, I have understood that this darkness we embrace is not about evil - it is about the search for freedom, identity, and the divine essence hidden in shadow.

So, no - it is not a hobby. It is life itself. A philosophy that grows, evolves, and consumes you entirely if you truly understand it.

 

14. What are your plans with CHRIST AGONY in the coming months? If there is anything on your mind or anything you want to say to your fans, labels, promoters, here is the space…

- At this moment, the priority is to bring “Anthems” to life - through live rituals, visuals, and special editions that will truly capture its atmosphere. I want Christ Agony to return to the stages of Europe with full strength, performing both new hymns and the classics that shaped our path.

We are in the process of preparing concerts and festivals for 2025 and 2026. I also plan to release several reissues and archival materials, because I believe that the past and present of Christ Agony form one spiritual continuum - a dark flame that has never gone out.

To all fans, promoters, and labels who still believe in Christ Agony - thank you. You are part of this journey. After so many years, we still walk through the shadows together.

 

15. Thank you very much for the interview. I really appreciate it. While writing these questions, I listened to CHRIST AGONY and will continue to do so. You are my favorite band, and you know, you can't just change your blood! I wish you the best of luck with the new album and in your personal life!

- Thank you sincerely for your words and for this inspiring conversation. It’s always an honor to connect with someone who has followed Christ Agony for so many years and still feels the same dark pulse that drives our music. These bonds - forged through sound, spirit, and time - are what give meaning to this path.

Black metal is not only music; it’s blood, devotion, and eternal rebellion. I deeply appreciate your support, and I dedicate this new chapter, “Anthems,” to all those who still believe in the power of darkness and transcendence.

See you in the shadows - Ave!


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