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Owuo - Rupture

When separation becomes unbearable, tipping into a fear of total annihilation. When merging feels like survival itself, yet risks complete absorption. A probe into the raw terrain of early unconscious states — a black-and-white borderline tension, channelled through a musical experiment.

The new Saint Petersburg project Owuo reworks and refracts the classic industrial metal formula — Godflesh, Spine Wrench, Dead World. Four tracks in total, including a remix by Atsushi Izumi in a Scorn-leaning style.
credits
released May 22, 2026

Mastered by @_atsushiizumi
Artwork by @negativemeditation
Design by @romastrunov

Owuo - Rupture

When separation becomes unbearable, tipping into a fear of total annihilation. When merging feels like survival itself, yet risks complete absorption. A probe into the raw terrain of early unconscious states — a black-and-white borderline tension, channelled through a musical experiment.

The new Saint Petersburg project Owuo reworks and refracts the classic industrial metal formula — Godflesh, Spine Wrench, Dead World. Four tracks in total, including a remix by Atsushi Izumi in a Scorn-leaning style.
credits
released May 22, 2026

Mastered by @_atsushiizumi
Artwork by @negativemeditation
Design by @romastrunov

Owuo - Rupture

When separation becomes unbearable, tipping into a fear of total annihilation. When merging feels like survival itself, yet risks complete absorption. A probe into the raw terrain of early unconscious states — a black-and-white borderline tension, channelled through a musical experiment.

The new Saint Petersburg project Owuo reworks and refracts the classic industrial metal formula — Godflesh, Spine Wrench, Dead World. Four tracks in total, including a remix by Atsushi Izumi in a Scorn-leaning style.
credits
released May 22, 2026

Mastered by @_atsushiizumi
Artwork by @negativemeditation
Design by @romastrunov

Owuo - Rupture

When separation becomes unbearable, tipping into a fear of total annihilation. When merging feels like survival itself, yet risks complete absorption. A probe into the raw terrain of early unconscious states — a black-and-white borderline tension, channelled through a musical experiment.

The new Saint Petersburg project Owuo reworks and refracts the classic industrial metal formula — Godflesh, Spine Wrench, Dead World. Four tracks in total, including a remix by Atsushi Izumi in a Scorn-leaning style.
credits
released May 22, 2026

Mastered by @_atsushiizumi
Artwork by @negativemeditation
Design by @romastrunov

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Gelainheim - Deco

The album Deco by Gelainheim sounds as if it were pulled straight out of the late nights of early-90s European clubs. Yet it is not an attempt to reconstruct the past. Instead, it feels like a genre of its own, shaped by a deep affection for New Beat, Electronic Body Music, Electroclash, and Acid House. These influences are not quoted directly; they are broken apart and reassembled into a cohesive club form.

The title Deco can be read as a reference to decoration or stage design. In Gelainheim’s interpretation, club music stops being just sound. It becomes a central element of the interior, part of the architecture of the space itself. The kick drum and synthesizers shape the atmosphere in the same way as lighting, concrete walls, or the bar.

From this perspective, a club does not exist because of its physical design, but because of how it sounds. When the music changes, the character of the place changes with it. Deco recalls a time when the sound itself defined what a club would be: cold, industrial, decadent, or hypnotic.
credits

/RATFLAK005/

Mastered by @gelainheim
Artwork by @pashazhirkov_
Photo by @liza_meduneckaya

Oi, everyone!

We wanna tell ya a bit about our first party!

Ratflak @dex_club 15 May 2026

Just a quick reminder — we’re a label focused on post-industrial, noise-adjacent dance electronics: EBM, New Beat, Electroclash, Techno, and Raw Electro.

On the lineup: Raw Takes and Garson Kasson with live sets, vinyl diggers Dead Moon and Hidikel, producer Arpatronic, and Ratflak label founder — Shakah.

Artwork by @shulya.xxl

Oi, everyone!

We wanna tell ya a bit about our first party!

Ratflak @dex_club 15 May 2026

Just a quick reminder — we’re a label focused on post-industrial, noise-adjacent dance electronics: EBM, New Beat, Electroclash, Techno, and Raw Electro.

On the lineup: Raw Takes and Garson Kasson with live sets, vinyl diggers Dead Moon and Hidikel, producer Arpatronic, and Ratflak label founder — Shakah.

Artwork by @shulya.xxl

4/4 — Acceptance

Acceptance manifests gradually, in the form of a perceptual reconfiguration. Noise begins to be perceived as a vehicle of affective expression. What was previously defined by chaos now reveals itself as an alternative order.
Ratflak’s sound remains abrasive, harsh, and uncompromising.
The fourth red flag functions in an initiatory mode: it marks the subject’s transition from rejection to acceptance.
Acceptance represents the opening/expansion of the perceptual field, where music serves as an instrument of psychic transformation

@blokkontroll
@absolute_form
@nghtly__music
@dotwall.wall_
@vondkreistan_official
@cheap_dj
@nob_437
@yan5yet
@spinal.x99x
@oleg_usovich
@djciberfobia
@corppo__
@cavalrystone
@sigilstx

Mastering: @larionovmusic
Artwork : @crud55
Label: @ratflak
Motion Design(MATLAB): @karner_red

VA - 3/4 - DENIAL

When aggressive expenditure subsides, denial follows. The subject disengages, declaring the material irrelevant or nonexistent. The sonic event is relegated to the margins of consciousness, coded as ignorable background.
However, as psychoanalytic theory indicates, denial is never absolute. Auditory fragments remain: the persistence of a loop, the afterimage of a dissonance, the mnemonic trace of a texture. The red flag is not extinguished but repressed, continuing to function within the unconscious domain.
Denial therefore constitutes a paradox: the object is consciously excluded while unconsciously maintained. This silent negotiation signals the beginning of hidden integration.
credits

@e_bony__
@saigg_._
@arpatronic
@joeyfdh
@garcon.kasson.music
@gravitational_waves_rec
@konerytmi
@olemicodd
@__riseblack
@jauzas_the_shining
@workerpoor
@andrewclaristidge
@jordanraymondfc
@antonio1936

Mastering: @larionovmusic
Artwork :@crud55
Label: @ratflak
Motion Design(MATLAB):@karner_red

VA - 2/4 Anger

Anger comes after Fear

The mind, unable to withstand the tension, shifts into defense. There is a need to reject the sound, to call it noise, error, or anti-music. This is not misunderstanding but a protective instinct an attempt to regain control over what cannot be classified.
Rhythm feels like mechanical violence, distortion like something alien, synthesis like aggression. Yet within this aggression lies power. “Anger” is the stage of confrontation, where inner resistance takes sonic form.
Anger becomes a point of accumulated energy, breaking old perceptual boundaries and clearing the path to the next stage.

Music:
@raw_takes
@harlemelectronics
@chromecorpsebm
@returnoftheluddites
@ldwgnotme
@dataintrang
@hugo_dirac
@slavoso
@facets_music
@survival_paradox
@swaerm_
@alfred_landa
@tech_noiser

Mastering: @larionovmusic
Artwork :@crud55
Label: @ratflak
Motion Design(MATLAB):@karner_red

Fear is the first stage of the Ratflak cycle.
It begins with unease — sound that bypasses reason and acts on the body. Heartbeats quicken, muscles tense, instinct says run. This is not music for comfort, but confrontation.
In Ratflak, sound becomes alarm: rhythm as siren, noise as signal, distortion as threat.
Fear isn’t failure — it’s initiation. The first red flag. The start of transformation.

Music:
@gelainheim
@iamvelax
@alpha.sect & @kwsths_an
@acidyatra
@nasdrowie_
@bulgakov_
@filmmakerr_
@teo_larioni
@petrifiedentity
@adrianocanzian
@datura.inoxia
@gavelman_lifeforms

Mastering: @larionovmusic
Artwork: @crud55
Label: @ratflak
Motion Design(MATLAB):@karner_red