POLAND, February 24, 2012 ( – At one o’clock in the morning the lights were dimmed. The heavy thumping rhythms of the electronically-produced music pounded through the bodies of 20,000 young people who had gathered for a rave at a party hall in Dortmund, Germany. Lasers pierced through the darkness carving out strange and mysterious images on the walls and ceiling. Lights pulsated. Video flashed on screens. Thousands of electronic watts created a wall of sound and light that Lech Dokowicz could only stand back and admire. After all, he had helped to create the show as one of its leading camera operators.

The year was 1997. For 30-year-old Lech this was the show he had been anticipating for a long time. Tonight, Lech’s mentor, one of the chief movers behind the techno scene, had promised to reveal to the young man the meaning and purpose behind the massive techno movement.

As the ravers screamed and cheered, Lech watched in awe as his mentor masterfully manipulated lasers and lights to produce what he remembers as scenes of desolation, destruction, and terror.


“They represented the world at war, culminating in global nuclear war and utter destruction,” Lech recalled in a 2005 memoir that appeared in the magazine Love One Another. “Also represented were people belonging to the Techno scene taking control of non-participants.”

At one point a cross-shaped structure laden with lights that could be moved over the heads of the ravers became the center of attention. Graphic images projected by lasers onto the overhead cross suddenly made it clear to Lech who he was really working for.

“I understood that these people were Satanists leading the world’s youth to destruction. I was one of them, and there was no way back for me – or so it seemed at first.”

As the young people moved to the pulse of the music and the swirl of the lasers, Lech all at once saw a vision of his future unfold before his eyes.

“Ahead was the tantalizing prospect of doing whatever I felt like doing, of working at whatever I wanted, choosing the people I wanted to work with. Money was no object. It occurred to me then that in choosing this, I would have to leave behind my wife and child, as they could not go where I was going.”

With utter clarity Lech saw what lay in store for him if he continued to travel down this road.

“I sensed what it would be like to be a soul plummeting into darkness in a powerful, appallingly hopeless and terrible free-fall.”

As the crashing rhythms and dazzling lights threatened to take control of the young man, Lech found himself falling on his knees and crying out the words of the Lord’s Prayer. To this day, Lech credits the power of God for his deliverance from the dark presences he experienced that night.

This journalist contacted Lech and asked him to explain what he experienced on the techno scene as a camera operator.

LSN: When you came to Germany as a young man in the mid 80s, what was happening in your life at this time?

Lech Dokowicz: I left Poland in 1984 when I was only 18 years old and I ended up in Munich in Germany. I worked at the Bavarian National Opera as a lighting technician. Finally I started working in television, where after a few years I met a Swiss camera operator. It is thanks to him that I chose to become a camera operator.

In my private life, I was a typical self-centered young man. My goals were simple – every year I had to have a larger car, travel further, to own more expensive clothes… In time, and because of many bad decisions that I made, I became a terrible egoist and cynic.

LSN: How were you involved in the emerging techno culture? What did you bring to it? What kind of a person did you become in this culture?

LD: I partied along with my friends at these large techno events where some ten thousand people would gather. During one of these events, I came up with the idea for creating an acoustic device that would stimulate the brain, but this system was complicated and costly. A friend said that he would introduce me to a person who would be able to figure out if it would be worthwhile to work on this system. This is how I got to know Peter [who would become my mentor].

From our first meeting I got the impression that I was dealing with a genius – someone with encyclopedic knowledge who had the ability to do immediate analysis and to create solutions and who possessed rare artistic talent. Gradually I started to adopt his world-view. I opened myself up to the world of energies and undefined forces. I learned about an art and a culture created by people who viewed the world in a very different way than most of the people whom I had met up to this point. This was a very strong experience for me and it seemed that I had found what I had been looking for a long time.

During that time I could no longer tell the difference between good and evil, or to be more precise in my case, the difference between darkness and light. I had a completely distorted view of truth, good and beauty. I took their substitutes as being the originals.

LSN: Why was your mentor interested in you and your skills as a camera operator?

LD: I worked primarily with and for Peter. Using special techniques, I filmed various events for him. I used these materials to create films, which were shown during big events, these films acted on people’s subconscious and influenced them spiritually.

LSN: Why are there so many lights and lasers at these huge rave events?

LD: First I will explain why symbols have such a significant meaning in the spiritual world. A symbol is the sign of a ritual, and behind a ritual there is a presence – either that of the Holy Spirit or of a fallen demonic spirit.

Culturally we all give certain symbols the same meaning. Occultists give these same symbols another meaning, different from the widely accepted meaning. By knowing this second meaning, we can understand the producers’ real intentions and the message they are trying to tell with their albums, films or images. This method of communication is used to create a spiritual dimension and to express the spiritual intention of various works.

People who craft various occult works have certain spiritual limits. On the spiritual level they are unable to create or invent anything new. Instead, they copy the works of the Creator, under the guise of light, creating weak plagiarisms with the spiritual intention of separating man from God. In this way, the symbols used in the techno scene, for example, help to create a space for demonic beings to act in. This is an anti-church with its own priests (DJs) along with believers (the youth coming to party) with its own para-liturgical celebration of the body through music, images and lights, whose goal is to give tribute to demons and to destroy humans.

LSN: In your experience, is there a diabolical spirituality behind the techno movement?

LD: In my opinion, this youth movement was, from the very beginning, inspired by demons. For instance, thanks to this movement, narcotics, which at the end of the 80s were still treated by most young people as a very negative phenomenon, became in the first half of the 90s something that was completely acceptable for around 30% of youth in first world countries. By 1995 every weekend in Germany, around 2 million tablets of MDMA (known commonly as Ecstasy) were consumed – which even just a few years earlier would have been unthinkable.
This movement originated and developed most rapidly in the great metropolises of the world. It affected the rhythm of life and the sensitivity of the youth who live in concrete deserts, who commune daily with electronics, and who live life in the fast-lane, constantly searching for newer experiences. It overtook a developing world and gave them a certain rhythm. Today we can say that the movement has already reached its climax, and is now morphing into various novelties, all of which receive their inspiration from the dimension of darkness. What this movement left behind was a world of night madness, hedonism, narcotics and overturned moral values that have become the foundation for building a new civilization – a civilization without God.

LSN: In your experience, what is at the core of the music itself?

LD: Some of the creators of this music are under the direct influence of demons. The demonic impressions are reflected in the music’s expression, which the inventors experience when in contact with the demons. The music is created in honor of evil spirits and becomes part of the space that encourages their actions. Satan is God’s monkey, so music that is made in his honor also has an influence on those who listen. The same spiritual mechanisms can be applied to images, lights and lasers.

LSN: What did you discover the techno movement to be all about on the night of the rave in 1997?

That night, in a completely clear manner, I understood that the people with whom I worked with were Satanists. They were destroying the souls of young people around the whole world. Through them I was subjected to a demonic initiation that was supposed to lead me into choosing and serving Satan as my lord. Through the grace of God and the intercession of the Virgin Mary, along with 17 years of my mother’s prayers, this initiation did not occur. In fact the opposite happened: I received the great gift of conversion. Since that time I have started a new life in the Catholic Church.

LSN: What message do you have for young people who are caught up in the rave and techno scene?

LD: My message is simple: There is only one Holy Trinity of God in Three Persons, the God of Isaac and Jacob, Who revealed to us the truth about Himself through His Son Jesus Christ. Repent and believe in the Gospel. Whoever believes will be saved, whoever does not believe will be condemned.